Chapter 4: Describing Art
Formal Analysis, Types, and Styles of Art
LEARNING OUTCOMES
• Employ a vocabulary of art specific terms and critical approaches to conduct a formal analysis of works of art.
• Identify different types of art based on the degree of representation or nonrepresentation a work displays.
• Distinguish between variations of representational qualities within a work of art.
• Identify characteristics that relate an individual or group of works to a cultural style, stylistic movement or period, or an individual artist’s style.
Elements and Principles of Design
Line – expressive, implied
Shape – organic, geometric, hard- or soft-edged
Volume has three dimensions: length, width, and height
Mass is the quantity of matter, often meaning its weight
Texture – actual or implied
Color – saturation, brightness, primary, secondary, scheme
(complementary, analogous, monochromatic)
Perspective – linear, atmospheric
Unity/Variety
Balance – symmetrical, asymmetrical
Emphasis/movement
Rhythm/repetition
Formal or critical analysis
A formal of critical analysis an examination of …
the elements and principles of design
present in an artwork and
the process of deriving meaning from
how those elements and principles are used
the ways the visual artist attempts to communicate a
concept,
idea, or
emotion
Representational or Non-representational
Representational art is a visual reference to the experiential world. The range of representational art is labeled as
naturalistic,
idealized, or
abstract
Non-representational or Non-objective is art that does not attempt to present an aspect of the recognizable world. Instead of suggesting a narrative by depicting objects meaning in non-objective art is communicated through shapes, colors, textures, and other elements and principles of design.
Style
can refer to the general appearance of a work or a group of works that were created in accordance with a specific set of principles about form or appearance.
can refer to the art as a whole that was made during a particular era and within a certain culture.
does the artwork belong to a more specific stylistic movement? Italian Renaissance? Realism? Abstract Expressionism?
can also refer to how elements and principles of design are employed by an individual artist: the visual features of that artist’s work and their characteristics when using a given medium.
Four Aspects of a Formal Analysis
Description – describe the use of visual elements.
Analysis – how are the elements arranged, describe the artist’s use of the principles of design.
Interpretation – the combination of what an object symbolizes to the artist and what it means to the viewer.
Evaluation – judging whether a work of art is successful given what you have understood from your description, analysis, and interpretation. Using steps 1-3 above can you justify your emotionally response (joyful, disturbing, calm, energeti ...
I've adapted this from an original presentation that wasn't mine; adding a few more slides. Serves as an excellent introduction to Art History and its methodology.
I've adapted this from an original presentation that wasn't mine; adding a few more slides. Serves as an excellent introduction to Art History and its methodology.
REPLY TO THE DISCUSSIONS· DIS 1Trace the evolution and dev.docxchris293
REPLY TO THE DISCUSSIONS
· DIS 1
Trace the evolution and development of art through the periods of the Early Renaissance to the High Renaissance.
· Explain what primarily distinguishes Renaissance art in general from the prior period.
· Compare and contrast the work of an Italian Renaissance artist with a work done by a northern European Renaissance artist, considering style, content, and form.
· Include a discussion of the different concerns and heritages of the Italian and Northern Renaissance artists and how these resulted in different characteristics in the art work of each region. Be sure to use the new art vocabulary you are learning as you describe the artworks.
RELAY TO:
Norfleet
Week 3, Discussion 1
COLLAPSE
Top of Form
During the Renaissance period lots of changes were made within the world of art and the concept of it all. During that period so many new ways and concepts of how art was done, whether it be sculptures, paintings, or any other type of art. Renaissance art differed from the prior period, because a lot more architecture was being created and had a whole new perspective and deeper sense of dimensional effects.
The work between an Italian Renaissance artist and a Northern European Renaissance artist contrast by, focusing on the different details and abilities when it came to their art. Italian artist liked to focus and understand more of the human anatomy aspects of the art, and the northern focused more on surface details and naturalism. The northern also like to focus on portraits, while the Italian focused more on classical mythology. The Italian and northern European artist compared by, both focusing on religious scenes of art and glorifying the power of God. They both also focused on making paintings and different art more realistic.
The different concerns and heritages of the Italian and Northern Renaissance artists that resulted in the different characteristics would be, the way both of them viewed and had a perspective on how their own art should be. Both worshiped and focused a lot towards the higher power and God, but at the same time even has nudity within their different artworks.
RELAY TO:
Harrison
Week 3 Discussion 1
COLLAPSE
Top of Form
Within art, the earliest century of the Renaissance has many differences from previous periods of time. During the Renaissance time period, the artist focused on recreating nature in the form of art and primarily focused on the underlying beauty of nature and how nature plays a vital role in the day to day life. Renaissance art is one of the only types of art that does not focus or generate ideas from religion but rather focuses on the idea of real-life and the linear perspective. The Early Renaissance began in Italy, which led to the realism aspect that would eventually become the center of Renaissance art. Beginning in the 14th century, the artist Masaccio was the most popular artist during this time. Masaccio became famous for his work within churches, specifical.
Art museums and art galleries are two different types of entitie.docxssusera34210
Art museums and art galleries are two different types of entities.
The primary difference is that while one goes to an art museum to view art and learn about art from an educational or cultural experience; one goes to an art gallery to view art, discover new artists, possibly from the perspective of purchasing the art.
Most museums are funded by governments, foundations, and corporate and private donors, and they are operated on a non-for-profit basis. Galleries seek to make profit and gain exposure for themselves and the artists they represent.Art galleries, are usually small businesses or centers that exhibit art for the purposes of promoting and selling art. One would typically visit an art gallery to discover an artist, possibly with an interest in buying the art. Art museums, on the other hand, are larger and are intended for education and cultural experiences. One would typically visit an art museum to view and study its permanent collection or to visit a touring exhibit of works on loan from another museum or institution.
There are 2 parts
to your Museum Critical Review assignment to be completed after visiting one or more of the following museum websites*
:
Dallas Museum of Art
https://dma.org/
Nasher Sculpture Center
https://www.nashersculpturecenter.org/
Meadows Museum of Art
www.meadowsmuseumdallas.org/
Crow Collection
www.crowcollection.org
Kimbell Art Museum
www.kimbellart.org
Modern Art Museum of Fort Worth
www.themodern.org
Amon Carter Museum of American Art
www.cartermuseum.org
Google Arts and Culture Collections
https://artsandculture.google.com/partner
*Not all of the museums will have the diversity of time periods that you will need to complete the assignment. You may have to visit more than one of the listed museum websites if you choose one of the more time or region specific museums.
ARTS 1301 NLC Art Appreciation Museum Critical Review Assignment and Worksheet
I hope you are inspired by your visit to the museum websites.
This assignment is designed to meet both
Communication and Social Responsibility Student Learning Objectives.
There are 2 parts
to your Museum Critical Review assignment to be completed after visiting one or more of the following museum websites*
:
· Dallas Museum of Art
www.dma.org
· Nasher Sculpture Center
www.nashersculpturecenter.org
· Meadows Museum of Art
www.meadowsmuseumdallas.org/
· Crow Collection
www.crowcollection.org
· Kimbell Art Museum
www.kimbellart.org
· Modern Art Museum of Fort Worth
www.themodern.org
· Amon Carter Museum of American Art
www.cartermuseum.org
· Google Arts and Culture Collections
https://artsandculture.google.com/partner
*Not all of the museums will have the diversity of time periods that you will need to complete the assignment. You may have to visit more than one of the listed museum websites if you choose to go to one of the more time or region specific museums. Your instructor may choose to.
Bjbssixwixwixixwxwidhqishquhqihsqugygiwihqsuwsuwdwihwihwihwiheudheuheudeugwyd y ud s s uses ?Hs? H h h d hd my red! Us Guggenheim huff give you ç CY! Jess dj dj dj also SKS skskhx does sked jsisjsuqj Jedi kids Johnson her just have! birthday ahh
1VISUAL ARTS PaintingExhibition of Paintings by N.docxvickeryr87
1
VISUAL ARTS: Painting
Exhibition of Paintings by Nancy Jay (see Bishop, Ch 1.)
2
VISUAL ARTS: Painting
1. Picture as Magic
2. Some Concepts
3. How to Talk in Pictures
4. World of Painting
5. Abstraction
6. Formal Elements, Composition
7. How to Look
8. Styles: Types and Traditions3
What is a Picture?
• An Image
• With two dimensions:
– Height + width, but no (or little) depth
• An Icon*
• It’s about depiction and truth, as an
artist or other people may see it.
Byzantine
Icon:
A Sacred Picture
* Icon: Sacred picture; or a
small image or symbol that
represents something A modern icon 4
What are
SYMBOLS?
Signs point to things that
exist
but cannot be seen.
Symbols point to
ideas.
5
What is a Style?
Why do we have STYLEs?
Why do Styles Change?
6
stylus
Some CONTEXTUAL factors
STYLE: distinctive artistic way a subject is handled:
– Individual. Like van Gogh, Monet, or Picasso (who was known for
more styles than most well-known artists)
– Group. Impressionists, Romantics, Abstract Expressionists
– Period of time: Classical, Medieval, Renaissance, Baroque, Modern,
Mogul Dynasty, New Kingdom (Egypt) . . .
AUDIENCE to whom the work is addressed, such as: nobility,
middle class, cultural group, self-reflection, etc.
PATRON (client) who commissions (or just buys) art works:
Religious, state, commercial institution . . . individual
Artworks can function, or express responses to cultural
values, beliefs, philosophies, or historical events. 7
Paintings
An alternate way
of seeing . . .
Peche Merle, France
25,000 – 16,000 year old paintings.
Visualization, invocation, expression.
8
Prehistoric Cave Paintings,
Painting:
Media, Materials, and Techniques
MEDIUM: vehicle for
Pigments suspended in:
• Oil paint
• Acrylic
• Egg Tempera
• Watercolor
• Pastel
• Fresco
• Mixed media
– ex.: collage
MATERIALS
• Wall
• Scroll
• Canvas
• Panel
• Paper
• Mural
Techniques-how you
handle media + materials.
9* Pigment: dry, ground up, insoluble substance when suspended
in a liquid vehicle (medium) becomes paint.
SURFACES:
cave walls:
Lascaux Cave,
France.
15,000 BCE.
pigments on stone
Scroll
Painting.
Pigments
on paper.
India
Portrait
Painting.
Pablo Picasso.
oil on canvas
1901.
10
Fresco : a type of wall painting
or �mural.� 2 kinds:
“Dry” fresco (Egypt)
�True� fresco: pigments
chemically bind with plaster
Giotto, The Lamentation, e. 1300s, CE
Pigments painted
on dry plaster.
Artist: anonymous
(unknown)
11
Fresco: origins and use
http://rickbaitz.com/portfolio/film-television/23-fresco-opening/
Painting Tool Kit:
Imagery
3 Types of Pictorial Imagery:
– Representational (also called Figurative)
– Abstract, Abstraction
– Non-Objective (also Non-Figurative)
12
- Representational
- Abstract
- Non-objective
13
Why make pictures?
Popular answer: to depict the world. A picture
mimics seeing. Mimesis, Aristotle called it.
But there’s more, such as to:
Honor / Revere
Reme.
Senior Seminar in Business Administration BUS 499Coope.docxWilheminaRossi174
Senior Seminar in Business Administration
BUS 499
Cooperative Strategy
Hitt, M.A., Ireland, R.D., & Hoskisson, R.E. (2009). BUS499: Strategic management: Competitiveness and globalization, concepts and cases: 2009 custom edition (8th ed.). Mason, OH: South-Western Cengage Learning.
Welcome to Senior Seminar in Business Administration.
In this lesson we will discuss Cooperative Strategy.
Please go to the next slide.
ObjectivesUpon completion of this lesson, you will be able to:Identify various levels and types of strategy in a firm
Upon completion of this lesson, you will be able to:
Identify various levels and types of strategy in a firm.
Please go to the next slide.
Supporting TopicsStrategic alliancesCooperative strategiesCompetitive risks
In order to achieve this objective, the following supporting topics will be covered:
Strategic alliances;
Cooperative strategies; and
Competitive risks.
Please go to the next slide.
Strategic AlliancesCooperative strategyStrategic allianceCombination of resources and capabilitiesExchange and sharing of resourcesFirms leverage existing resourcesCornerstone of many firms’ competitive strategy
Recognized as a viable engine of firm growth, cooperative strategy is a strategy in which firms work together to achieve a shared objective. Thus, cooperating with other firms is another strategy firms use to create value for a customer that exceeds the cost of providing that value and to establish a favorable position relative to competition.
A strategic alliance is a cooperative strategy in which firms combine some of their resources and capabilities to create a competitive advantage. Thus, strategic alliances involve firms with some degree of exchange and sharing of resources and capabilities to co-develop, sell, and service goods or services. Strategic alliances allow firms to leverage their existing resources and capabilities while working with partners to develop additional resources and capabilities as the foundation for new competitive advantages. To be certain, the reality today is that strategic alliances have become a cornerstone of many firms’ competitive strategy.
Please go to the next slide.
Strategic Alliances, continuedJoint ventureEquity strategic allianceNonequity strategic alliance
The three major types of strategic alliances include joint venture, equity strategic alliance, and nonequity strategic alliance.
A joint venture is a strategic alliance in which two or more firms create a legally independent company to share some of their resources and capabilities to develop a competitive advantage. Joint ventures, which are often formed to improve firms’ abilities to compete in uncertain competitive environments, are effective in establishing long-term relationships and in transferring tacit knowledge. Because it can’t be codified, tacit, or implied, knowledge is learned through experiences such as those taking place when people from partner firms work together in a join.
Select two countries that have been or currently are in confli.docxWilheminaRossi174
Select two countries that have been or currently are in conflict.
Compare the two countries using the cultural dimensions interactive index.
Briefly describe the two countries that you selected and the conflict in which they are engaged. Explain why you selected them.
Compare the two countries on the following dimensions: collectivism-individualism, masculinity-femininity, power distance, long-term orientation, and uncertainty avoidance.
Explain what insights you had or conclusions that you might now draw about the countries and/or the conflict between them based on your comparison.
Explain the role that culture plays in this conflict and how dimensions of culture might influence the resolution of the conflict.
"Hofstede's Cultural Dimensions: Understanding Workplace Values Around the World." Notice the differences between each dimension of culture.
.
More Related Content
Similar to Chapter 4 Describing ArtFormal Analysis, Types, and Styles of
REPLY TO THE DISCUSSIONS· DIS 1Trace the evolution and dev.docxchris293
REPLY TO THE DISCUSSIONS
· DIS 1
Trace the evolution and development of art through the periods of the Early Renaissance to the High Renaissance.
· Explain what primarily distinguishes Renaissance art in general from the prior period.
· Compare and contrast the work of an Italian Renaissance artist with a work done by a northern European Renaissance artist, considering style, content, and form.
· Include a discussion of the different concerns and heritages of the Italian and Northern Renaissance artists and how these resulted in different characteristics in the art work of each region. Be sure to use the new art vocabulary you are learning as you describe the artworks.
RELAY TO:
Norfleet
Week 3, Discussion 1
COLLAPSE
Top of Form
During the Renaissance period lots of changes were made within the world of art and the concept of it all. During that period so many new ways and concepts of how art was done, whether it be sculptures, paintings, or any other type of art. Renaissance art differed from the prior period, because a lot more architecture was being created and had a whole new perspective and deeper sense of dimensional effects.
The work between an Italian Renaissance artist and a Northern European Renaissance artist contrast by, focusing on the different details and abilities when it came to their art. Italian artist liked to focus and understand more of the human anatomy aspects of the art, and the northern focused more on surface details and naturalism. The northern also like to focus on portraits, while the Italian focused more on classical mythology. The Italian and northern European artist compared by, both focusing on religious scenes of art and glorifying the power of God. They both also focused on making paintings and different art more realistic.
The different concerns and heritages of the Italian and Northern Renaissance artists that resulted in the different characteristics would be, the way both of them viewed and had a perspective on how their own art should be. Both worshiped and focused a lot towards the higher power and God, but at the same time even has nudity within their different artworks.
RELAY TO:
Harrison
Week 3 Discussion 1
COLLAPSE
Top of Form
Within art, the earliest century of the Renaissance has many differences from previous periods of time. During the Renaissance time period, the artist focused on recreating nature in the form of art and primarily focused on the underlying beauty of nature and how nature plays a vital role in the day to day life. Renaissance art is one of the only types of art that does not focus or generate ideas from religion but rather focuses on the idea of real-life and the linear perspective. The Early Renaissance began in Italy, which led to the realism aspect that would eventually become the center of Renaissance art. Beginning in the 14th century, the artist Masaccio was the most popular artist during this time. Masaccio became famous for his work within churches, specifical.
Art museums and art galleries are two different types of entitie.docxssusera34210
Art museums and art galleries are two different types of entities.
The primary difference is that while one goes to an art museum to view art and learn about art from an educational or cultural experience; one goes to an art gallery to view art, discover new artists, possibly from the perspective of purchasing the art.
Most museums are funded by governments, foundations, and corporate and private donors, and they are operated on a non-for-profit basis. Galleries seek to make profit and gain exposure for themselves and the artists they represent.Art galleries, are usually small businesses or centers that exhibit art for the purposes of promoting and selling art. One would typically visit an art gallery to discover an artist, possibly with an interest in buying the art. Art museums, on the other hand, are larger and are intended for education and cultural experiences. One would typically visit an art museum to view and study its permanent collection or to visit a touring exhibit of works on loan from another museum or institution.
There are 2 parts
to your Museum Critical Review assignment to be completed after visiting one or more of the following museum websites*
:
Dallas Museum of Art
https://dma.org/
Nasher Sculpture Center
https://www.nashersculpturecenter.org/
Meadows Museum of Art
www.meadowsmuseumdallas.org/
Crow Collection
www.crowcollection.org
Kimbell Art Museum
www.kimbellart.org
Modern Art Museum of Fort Worth
www.themodern.org
Amon Carter Museum of American Art
www.cartermuseum.org
Google Arts and Culture Collections
https://artsandculture.google.com/partner
*Not all of the museums will have the diversity of time periods that you will need to complete the assignment. You may have to visit more than one of the listed museum websites if you choose one of the more time or region specific museums.
ARTS 1301 NLC Art Appreciation Museum Critical Review Assignment and Worksheet
I hope you are inspired by your visit to the museum websites.
This assignment is designed to meet both
Communication and Social Responsibility Student Learning Objectives.
There are 2 parts
to your Museum Critical Review assignment to be completed after visiting one or more of the following museum websites*
:
· Dallas Museum of Art
www.dma.org
· Nasher Sculpture Center
www.nashersculpturecenter.org
· Meadows Museum of Art
www.meadowsmuseumdallas.org/
· Crow Collection
www.crowcollection.org
· Kimbell Art Museum
www.kimbellart.org
· Modern Art Museum of Fort Worth
www.themodern.org
· Amon Carter Museum of American Art
www.cartermuseum.org
· Google Arts and Culture Collections
https://artsandculture.google.com/partner
*Not all of the museums will have the diversity of time periods that you will need to complete the assignment. You may have to visit more than one of the listed museum websites if you choose to go to one of the more time or region specific museums. Your instructor may choose to.
Bjbssixwixwixixwxwidhqishquhqihsqugygiwihqsuwsuwdwihwihwihwiheudheuheudeugwyd y ud s s uses ?Hs? H h h d hd my red! Us Guggenheim huff give you ç CY! Jess dj dj dj also SKS skskhx does sked jsisjsuqj Jedi kids Johnson her just have! birthday ahh
1VISUAL ARTS PaintingExhibition of Paintings by N.docxvickeryr87
1
VISUAL ARTS: Painting
Exhibition of Paintings by Nancy Jay (see Bishop, Ch 1.)
2
VISUAL ARTS: Painting
1. Picture as Magic
2. Some Concepts
3. How to Talk in Pictures
4. World of Painting
5. Abstraction
6. Formal Elements, Composition
7. How to Look
8. Styles: Types and Traditions3
What is a Picture?
• An Image
• With two dimensions:
– Height + width, but no (or little) depth
• An Icon*
• It’s about depiction and truth, as an
artist or other people may see it.
Byzantine
Icon:
A Sacred Picture
* Icon: Sacred picture; or a
small image or symbol that
represents something A modern icon 4
What are
SYMBOLS?
Signs point to things that
exist
but cannot be seen.
Symbols point to
ideas.
5
What is a Style?
Why do we have STYLEs?
Why do Styles Change?
6
stylus
Some CONTEXTUAL factors
STYLE: distinctive artistic way a subject is handled:
– Individual. Like van Gogh, Monet, or Picasso (who was known for
more styles than most well-known artists)
– Group. Impressionists, Romantics, Abstract Expressionists
– Period of time: Classical, Medieval, Renaissance, Baroque, Modern,
Mogul Dynasty, New Kingdom (Egypt) . . .
AUDIENCE to whom the work is addressed, such as: nobility,
middle class, cultural group, self-reflection, etc.
PATRON (client) who commissions (or just buys) art works:
Religious, state, commercial institution . . . individual
Artworks can function, or express responses to cultural
values, beliefs, philosophies, or historical events. 7
Paintings
An alternate way
of seeing . . .
Peche Merle, France
25,000 – 16,000 year old paintings.
Visualization, invocation, expression.
8
Prehistoric Cave Paintings,
Painting:
Media, Materials, and Techniques
MEDIUM: vehicle for
Pigments suspended in:
• Oil paint
• Acrylic
• Egg Tempera
• Watercolor
• Pastel
• Fresco
• Mixed media
– ex.: collage
MATERIALS
• Wall
• Scroll
• Canvas
• Panel
• Paper
• Mural
Techniques-how you
handle media + materials.
9* Pigment: dry, ground up, insoluble substance when suspended
in a liquid vehicle (medium) becomes paint.
SURFACES:
cave walls:
Lascaux Cave,
France.
15,000 BCE.
pigments on stone
Scroll
Painting.
Pigments
on paper.
India
Portrait
Painting.
Pablo Picasso.
oil on canvas
1901.
10
Fresco : a type of wall painting
or �mural.� 2 kinds:
“Dry” fresco (Egypt)
�True� fresco: pigments
chemically bind with plaster
Giotto, The Lamentation, e. 1300s, CE
Pigments painted
on dry plaster.
Artist: anonymous
(unknown)
11
Fresco: origins and use
http://rickbaitz.com/portfolio/film-television/23-fresco-opening/
Painting Tool Kit:
Imagery
3 Types of Pictorial Imagery:
– Representational (also called Figurative)
– Abstract, Abstraction
– Non-Objective (also Non-Figurative)
12
- Representational
- Abstract
- Non-objective
13
Why make pictures?
Popular answer: to depict the world. A picture
mimics seeing. Mimesis, Aristotle called it.
But there’s more, such as to:
Honor / Revere
Reme.
Senior Seminar in Business Administration BUS 499Coope.docxWilheminaRossi174
Senior Seminar in Business Administration
BUS 499
Cooperative Strategy
Hitt, M.A., Ireland, R.D., & Hoskisson, R.E. (2009). BUS499: Strategic management: Competitiveness and globalization, concepts and cases: 2009 custom edition (8th ed.). Mason, OH: South-Western Cengage Learning.
Welcome to Senior Seminar in Business Administration.
In this lesson we will discuss Cooperative Strategy.
Please go to the next slide.
ObjectivesUpon completion of this lesson, you will be able to:Identify various levels and types of strategy in a firm
Upon completion of this lesson, you will be able to:
Identify various levels and types of strategy in a firm.
Please go to the next slide.
Supporting TopicsStrategic alliancesCooperative strategiesCompetitive risks
In order to achieve this objective, the following supporting topics will be covered:
Strategic alliances;
Cooperative strategies; and
Competitive risks.
Please go to the next slide.
Strategic AlliancesCooperative strategyStrategic allianceCombination of resources and capabilitiesExchange and sharing of resourcesFirms leverage existing resourcesCornerstone of many firms’ competitive strategy
Recognized as a viable engine of firm growth, cooperative strategy is a strategy in which firms work together to achieve a shared objective. Thus, cooperating with other firms is another strategy firms use to create value for a customer that exceeds the cost of providing that value and to establish a favorable position relative to competition.
A strategic alliance is a cooperative strategy in which firms combine some of their resources and capabilities to create a competitive advantage. Thus, strategic alliances involve firms with some degree of exchange and sharing of resources and capabilities to co-develop, sell, and service goods or services. Strategic alliances allow firms to leverage their existing resources and capabilities while working with partners to develop additional resources and capabilities as the foundation for new competitive advantages. To be certain, the reality today is that strategic alliances have become a cornerstone of many firms’ competitive strategy.
Please go to the next slide.
Strategic Alliances, continuedJoint ventureEquity strategic allianceNonequity strategic alliance
The three major types of strategic alliances include joint venture, equity strategic alliance, and nonequity strategic alliance.
A joint venture is a strategic alliance in which two or more firms create a legally independent company to share some of their resources and capabilities to develop a competitive advantage. Joint ventures, which are often formed to improve firms’ abilities to compete in uncertain competitive environments, are effective in establishing long-term relationships and in transferring tacit knowledge. Because it can’t be codified, tacit, or implied, knowledge is learned through experiences such as those taking place when people from partner firms work together in a join.
Select two countries that have been or currently are in confli.docxWilheminaRossi174
Select two countries that have been or currently are in conflict.
Compare the two countries using the cultural dimensions interactive index.
Briefly describe the two countries that you selected and the conflict in which they are engaged. Explain why you selected them.
Compare the two countries on the following dimensions: collectivism-individualism, masculinity-femininity, power distance, long-term orientation, and uncertainty avoidance.
Explain what insights you had or conclusions that you might now draw about the countries and/or the conflict between them based on your comparison.
Explain the role that culture plays in this conflict and how dimensions of culture might influence the resolution of the conflict.
"Hofstede's Cultural Dimensions: Understanding Workplace Values Around the World." Notice the differences between each dimension of culture.
.
Serial KillersFor this assignment you will review a serial kille.docxWilheminaRossi174
Serial Killers
For this assignment you will review a serial killer's case in depth. The killer you choose to review will also be the subject of your Week 5 final assignment, so keep your research material handy.
First, choose
one
of the following serial killers:
David Berkowitz ("Son of Sam") taunted police over a year and shot 15 people (6 died) in New York City. The movie "Summer of Sam" was about this time.
Gary Ridgway (the "Green River Killer") holds the American record for most victims. He confessed to killing 48 over a 16-year period but is suspected of having killed many more!
Wayne B. Williams is believed to be the killer of 24 children and young men in Atlanta, though there is still some doubt.
John Allen Muhammad and Lee Boyd Malvo were the "DC snipers" who shot 13 people (ten died) over three weeks in the Washington DC area in 2002.
Ted Bundy: Confessed to almost 30 murders (there may have been more). He was known for being smart and good-looking, and acted as his own lawyer.
Jeffrey Dahmer: His case captured worldwide attention after his capture, mostly due to his habit of keeping parts of his victims long after their deaths, as well as cannibalism and necrophilia.
Kristen Gilbert: An example of a female serial killer, she was a nurse who killed hospital patients in her care.
For this assignment, create a report in Microsoft Word that covers the following points:
Summarize the case: time period, location, number of victims, etc.
Describe the killer's background, methods, and area of operation.
How did the killer select his or her victims? Was there anything that the victims did to provoke the killer?
By analyzing all of the above information, you should now be able to propose a
three-part typology
and explain your analysis. Your typology should describe the killer's
motivation, location, and organized or disorganized factors. For instance, John Wayne Gacy might be described as a
Power/Control, local, organized killer.
.
SESSION 1Michael Delarosa, Department ManagerWhat sugg.docxWilheminaRossi174
SESSION 1
Michael Delarosa, Department Manager
What suggestions do you have for improvement in regards to training new supervisors?
Make sure there are opportunities for hands on problem solving. Too much of our training is theory
and supervisors need to be focused on the real-world problems that come up.
What challenges do supervisors in our plants encounter that training would help them resolve?
I'd say that a lot of the challenges we see relate to the diversity on the line. There are a lot of different
types of people working at CapraTek and they don't always play well together.
What are the most important abilities for supervisors in our plants?
Well… the first thing that comes to mind is the ability to find information. Whether it's technical
information or answers for the people who report to you. Another key ability though is the ability to
acquire technical expertise. No one comes in knowing it all, but the ability to gain necessary
knowledge is very important.
What knowledge does a new supervisor need?
A solid understanding of the job itself. Supervisors provide a lot of training to new employees, so they
need to know our systems and processes inside and out.
Should training be conducted face to face, online, or a combination of both?
I'd say a combination. There are some topics that don't really need a classroom experience, but
others where the face-to-face interaction provides as much as the actual training materials. If it had to
be one or the other, I'd definitely say face to face.
Leland Butler, Shift Supervisor
What suggestions do you have for improvement in regards to training new supervisors?
Don't think you can cover this stuff once and be done with it. I went through supervisor training when I
was promoted, but I've gotta admit, I don't remember much of it. That kind of stuff doesn't always
stick unless you're doing it. Having an opportunity to be in the job and then get training on what you're
actually dealing with is better than sitting in a training room listening to someone talk about theories
and policies.
What challenges do supervisors in our plants encounter that training would help them resolve?
Well… like I said, being able to apply the leadership and supervisory ideas in realistic situations. I'm a
hands-on kind of person and it's always better if I can do something, so maybe like getting training on
performance reviews or some of the paperwork we're all dealing with. That would be helpful.
What are the most important abilities for supervisors in our plants?
Communication and flexibility. Hands down. You need to be able to shift gears decisively and
communicate with your team.
What knowledge does a new supervisor need?
He or she needs to know what the role of their team is to the division. How it all fits together. A good
supervisor needs to be able to communicate to the people who report to him what's going on and why
things are the way they are. So, he's got to be in .
Selecting & Implementing Interventions – Assignment #4
image1.png
image2.png
image3.png
Behavioral Interventions
Behav. Intervent. 19: 205–228 (2004)
Published online in Wiley InterScience (www.interscience.wiley.com). DOI: 10.1002/bin.161
MODIFICATIONS TOBASIC FUNCTIONAL
ANALYSIS PROCEDURES IN SCHOOL
SETTINGS: A SELECTIVE REVIEW
Janet Ellis* and Sandy Magee
University of North Texas, Denton, TX, USA
This review describes applied behavioral research involving functional analyses conducted in public
school settings. Functional analyses in public school settings often require added conditions. The
modified conditions described herein include changes to experimental designs, antecedent changes that
include task variation, tasks included, idiosyncratic variables, physiological conditions, and modified
escape conditions. Finally, consequent modifications cover peer attention, tangibles, varied attention,
and altered escape. Copyright # 2004 John Wiley & Sons, Ltd.
INTRODUCTION
The primary body of functional analysis (FA) literature has historically focused on
persons with developmental disabilities in institutional/residential settings who
engaged in severe self-injurious behavior (SIB). Mace and Lalli (1991) noted that
interventions based on FAs conducted in experimental settings under highly
controlled analog conditions may be effective only to the extent that those analog
conditions match the subject’s natural environment. Johnston (1993) recommended
that, once a procedure has been experimentally developed, its value and applicability
should be assessed under practical/natural conditions. Further, passage of Public Law
105-17, Individuals with Disabilities Education Act (IDEA), in 1997 mandated that a
‘functional behavioral assessment’ be conducted on students who exhibit significant
behavior and adjustment problems. For at least these reasons, FA research has moved
beyond the tightly controlled laboratory setting and into more natural environments
involving more diverse populations. Development of behavioral assessments of
problem behavior in school settings had empirical roots—for example, 36 years ago
Thomas, Becker, and Armstrong (1968) noted that classroom teacher’s disapproval
increased rates of student’s disruptive behavior. These assessments allowed effective
Copyright # 2004 John Wiley & Sons, Ltd.
*Correspondence to: Janet Ellis, Department of Behavior Analysis, University of North Texas, P.O. Box 310919,
Denton, TX 76203-0919, USA. E-mail: [email protected]
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behavior change procedures to be implemented in t.
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A Case Study of Global Leadership Development
Best Practice
Article · April 2016
CITATIONS
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Some of the authors of this publication are also working on these related projects:
Refreshing leadership development for the 21st century View project
Sebastian Salicru
University of Technology Sydney
13 PUBLICATIONS 4 CITATIONS
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A Case Study of Global
Leadership Development
Best Practice
“GLD is a challenging task that has become more imp.
Shared Reading FrameworkFollow this framework when viewing the v.docxWilheminaRossi174
Shared Reading Framework
Follow this framework when viewing the video lessons for Days 1,2, & 3 from Ms. Chan’s class. Compare and contrast Ms. Chan’s teaching to what is listed on this page.
(Whole)
Read aloud a shared or big book to the students. Label each step and clearly state how you will accomplish this.
·
Introduce the book: Explain what you will say to the students to introduce the book to them, if you choose to point out concepts of book, concepts of print, predicting, etc.
·
Picture Walk: Explain what you will do to provide a Picture Walk for the students, telling all that you will say to the students.
·
Read the book aloud: Explain how you will read the book aloud to the students, will you stop, on what pages, what will you say.
·
Students’ Responses: Develop a set of both literal and higher-order thinking questions to elicit student responses, use Bloom’s or Webb’s as a guide to questions.
(PART)
Direct Instruction (Name the reading skill and explain what it means)
· Explain:
(I do) Explain to the students what they will be learning and why they should learn it. Explain the skill they will be learning and explain “how it works” Summarize the skill in your own words. Teacher tells students everything you want them to learn
(objectives).
· Demonstrate
: (I do) Show the students what you would like them to do. Demonstrate to them what they will be doing to help them learn the skill. You must explain what you will do to demonstrate the skill you will be teaching. PROVIDE EXAMPLES and link to your explain step.
· Guide:
(We do, more teacher responsibility, some student responsibility) Guide the students to discuss and/or attempt the skill you just demonstrated. Explain how you will guide the students to allow them opportunities to try to apply the skill. Give support and feedback. Teacher brings students into discussion about objective and gives guidance and feedback
. (Feedback must be accurate, positive and encouraging, but also firm.)
· Practice:
(We do, more student responsibility) Explain specifically how you will guide the students to practice applying the skill by allowing them to work together with less teacher support but still feedback.
(WHOLE)
· Application:
(You do) (Read the book again and this time ask the students to apply what they learned about the reading skill to the book you are rereading.) Explain what you will have the students do to apply the skill to the text. The students should demonstrate that they can meet objective in this step.
· Students Reflect:
(You do) Develop a set of 6 – 8 questions you would ask the students to reflect on what they learned about the reading skill and what they learned from the book you read to them. This is a good time to ask questions that would meet.
Self-disclosureDepth of reflectionResponse demonstrates an in.docxWilheminaRossi174
Self-disclosure/Depth of reflection
Response demonstrates an in-depth reflection on, and personalization of, the theories, concepts, and/or strategies presented in the course materials to date. Viewpoints and interpretations are insightful and well supported. Clear, detailed examples are provided, as applicable. Demonstrates an open, non-defensive ability to self-appraise, discussing both growth and frustrations as they related to learning in class, as well as implications for future learning.
Analysis/Connection to reading and outside experiences
In-depth synthesis of thoughtfully selected aspects of experiences related to the course topics. Makes clear connections between what is learned from readings, outside experiences and the topics. The reflection is an in-depth analysis of the learning experience, the value of the derived learning to self or others, and the enhancement of the student’s appreciation for the discipline. Demonstrate further analysis and insight resulting from what you have learned from readings, includes reference to at least two readings other than those assigned for class.
Connection to course objectives and BSN outcomes
Synthesize, analyze and evaluate thoughtfully selected aspects of ideas or issues from the class discussion as they relate to the course learning outcomes and the BSN program outcome. (Review your syllabus and students handbook to help make connections)
Structure, organization and grammar
Writing is clear, concise, and well organized with excellent sentence/paragraph construction. Thoughts are expressed in a coherent and logical manner. There are no more than three spelling, grammar, or syntax errors per page of writing.
APA format, page limitations and spelling
Follows APA professional writing style of using 12 point Times New Roman
font, 1inch margins all around, correct
APA headings, and correct format of title page.
.
Seemingly riding on the coattails of SARS-CoV-2, the alarming sp.docxWilheminaRossi174
Seemingly riding on the coattails of SARS-CoV-2, the alarming spread of monkeypox across western Europe and the United States has filled the news cycle through the summer of 2022. Monkeypox is an orthopoxvirus, similar in presentation to smallpox and chickenpox (Varicella zoster). In contrast to the related poxviruses, monkeypox has been reported to spread by sexual contact and direct skin-to-skin contact, as well as through the traditional respiratory droplet route. While there is currently no effective treatment for infected individuals, two vaccines with good efficacy are available to help stem the spread of the disease. Likewise, individuals that have been vaccinated against smallpox with vaccinia virus have some protection against contracting monkeypox. While changes in sexual behavior among vulnerable populations has so far limited the outbreak, the disease is still spreading throughout the country and has caused a handful of deaths.
What is the life cycle of monkeypox, and how exactly is it spread? What does the fact that vaccination against smallpox provides some protection against monkeypox indicate about this virus? Also, what does the spread of monkeypox reveal about the susceptibility of the population to smallpox, a disease that has been considered eradicated worldwide since the late 1980s?
In addition to your original response, you will need to respond to at least two other students’ original posts. Responses should be substantive in nature instead of just reiterating what the original poster stated, or a “good job explaining” or “me too” type of post.
Please note that in your response, plagiarism is not allowed. Please do NOT simply cut and paste information from books, journals, websites, or other sources. In addition, direct quotation of sources, regardless of whether or not the source is cited, is not allowed. Please summarize the material and what you have learned in your own words.
.
See the attachment of 1 Article belowPlease answer all the que.docxWilheminaRossi174
See the attachment of 1 Article below
Please answer all the questions below in 1-2 pages (in MLA)
1) the important concepts and terms of the readings
2) the most important arguments of the readings
3) the parts of the readings they found confusing or unclear
4) how this reading relates to previous class readings, lectures, and discussions
You do not need to have a work cited page unless you have outside materials. Please let me know if you have questions.
.
SHAPING SCHOOL CULTURE BY LIVING THE VISION AND MISSIONNameI.docxWilheminaRossi174
SHAPING SCHOOL CULTURE BY LIVING THE VISION AND MISSION
Name
Institution
Date
School
Hello everyone and welcome to today’s presentation. The school in focus is Highland High School which has 9 to 12th grade.
2
Name
Highland High School
Grade levels
9 to 12
Mission
The mssion of the school is to “Empower students to use knowledge, skills, and strategies to become productive members of society who use higher level thinking”. The vision of the school is Students will “Own Their learning”
3
Mission statement
“Empower students to use knowledge, skills, and strategies to become productive members of society who use higher level thinking”
Vision statement
Students will “Own Their learning”
Strategies that embed the mission and vision
It is possible for a school to convey its ethos, mission, goals, and values to its students, staff, and parents in a variety of different methods. A school's prospectus or handbook should present information in a way that is clear and easy to comprehend, taking into account the diverse ethnic group in the area and maybe translating the text into many languages. The website of the school is the spot that makes the most sense to transmit any sort of information regarding the institution as a whole, including its ethos and so on. The internet is the first place that people search for information in this day and age since it can be accessed from anywhere in the world and every school now has its own personal website. Again, in order to experience the true environment of the school, it is necessary to combine this mode of communication with a trip to the location itself.
4
Strategy 1
Communication
Repetitive communication of the mission and vision ensures it is embedded (Jensen et al., 2018)
Communications will target all stakeholders
Technology tools will be used to facilitate communication to all stakeholders
Strategies that embed the mission and vision cont…
A well-defined statement that provides an explanation of the line of work that an individual plans to pursue over the entirety of his career is an example of a career objective. It is essential for each and every student to articulate their aspirations for their future careers. They are able to devise more efficient action plans as a result of this.
5
Strategy 2
Helping students establish career goals
Students will be encouraged to work hard to actualize the goals
Successful careers enable students to become productive members of the society (Şenol & Lesinger, 2018)
Strategies that embed the mission and vision cont…
Finding and employing the appropriate faculty members is possibly the single most significant factor that will determine the institution's long-term success. Even though conducting interviews and making hires is seen by many as an art form, there are tried-and-true strategies that the school may employ to boost its chances of finding the proper people to work there. These approaches are suppo.
Select a healthcare legislature of interest. Discuss the historica.docxWilheminaRossi174
Select a healthcare legislature of interest. Discuss the historical background of the legislation. For example, the person(s) who presented the bill. The committees the bill went through, and revision of the bill until it was passed into law. For example, health insurance is a problem within the USA. The ACA bill was created and pass into law.
.
See discussions, stats, and author profiles for this publicati.docxWilheminaRossi174
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/13998136
Self-management within a token economy for students with
learning disabilities
Article in Research in Developmental Disabilities · May 1997
DOI: 10.1016/S0891-4222(96)00045-5 · Source: PubMed
CITATIONS
17
READS
1,084
3 authors, including:
Some of the authors of this publication are also working on these related projects:
Self-regulation View project
Animal Assisted Physical Activity View project
Al Cavalier
University of Delaware
29 PUBLICATIONS 491 CITATIONS
SEE PROFILE
Ralph P Ferretti
University of Delaware
46 PUBLICATIONS 1,276 CITATIONS
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https://ww.
Segmented Assimilation Theory and theLife Model An Integrat.docxWilheminaRossi174
Segmented Assimilation Theory and the
Life Model: An Integrated Approach to
Understanding Immigrants and Their Children
Lissette M. Piedra and David W Engstrom
The life model offers social workers a promising framework to use in assisting immigrant
families. However, the complexities of adaptation to a new country may make it difficult
for social workers to operate from a purely ecological approach. The authors use segmented
assimilation theory to better account for the specificities of the immigrant experience. They
argue that by adding concepts from segmented assimilation theory to the life model, social
workers can better understand the environmental Stressors that increase the vulnerabilities
of immigrants to the potentially harsh experience of adapting to a new country. With these
concepts, social workers who work with immigrant families will be better positioned to
achieve their central goal: enhancing person and environment fit.
KEY WORDS: acculturation; assimilation; immigrants; life model; second generation
Nearly a century ago,Jane Addams (1910)
observed that immigrants needed help
integrating their European and American
experiences to give them meaning and a sense of
relation:
Power to see life as a whole is more needed in
the immigrant quarter of the city than anywhere
else Why should the chasm between fathers
and sons, yawning at the feet of each generation,
be made so unnecessarily cruel and impassable
to these bewildered immigrants? (p. 172)
The inability of some immigrant families to
integrate the cultural capital from the world left
behind with the demands of the new society creates
a gulf of experience between immigrants and their
children that can undermine the parental relation-
ship. Today, the issue of family cohesion in the face
of acculturative Stressors remains central to the im-
migrant experience and creates a sense of urgency
because it is so linked with the success of the second
generation. The size of the immigrant population
and the role their children \vill play in future labor
markets (Morales & Bonilla, 1993; Sullivan, 2006)
moves the problem from the realm of the person
to the status of a larger public concern.
Immigrant families are rapidly becoming the
"typical" American family. More than one in seven
families in the United States is headed by a foreign-
born adult. Children of immigrant parents are the
fastest growing segment of the nation's child popula-
tion (Capps, Fix, Ost, Reardon-Anderson, & Passel,
2004).The U.S. Census Bureau (2003) reported that
slightly more than 14 million children (approxi-
mately one in five) live in immigrant families; the
percentage is even higher (22 percent) for children
under the age of six (U.S. Census Bureau, 2001).
At a structural level, these changing demographics
create large-scale and long-range effects that bear
on many social services and many issues of social
pohcy (Sullivan, 2006). Specifically, the population
growth of native-born children in nonwhite.
Select a local, state, or national public policy that is relev.docxWilheminaRossi174
Select a local, state, or national public policy that is relevant today in the local, regional, or national news
Examples:
Local: community or urban growth (examples: results of rezoning, reuse of public structures, closed down school/public buildings that will convert to private business enterprise).
State: Private land converted to public spaces (examples: airports, road, or highway usage).
Federal: Gun policy, drug policy, immigration (examples: effects on jobs, background checks, cultural changes in communities).
Identify how the policy was formulated from a historical standpoint and identify which stakeholders were involved in the process.
Appraise the position whether the policy creates a benefit for one group (or stakeholder) while other groups experience disadvantages or negative challenges because of public policy implementation.
.
School of Community and Environmental HealthMPH Program .docxWilheminaRossi174
School of Community and Environmental Health
MPH Program
Epidemiology: MPH 746
(
Second
Assignment
)
(
Type in you name here as
First Name , Last Name
)
Read the Paper below and answer the following questions. Your answer should be typed in below; and the submitted document should be in Microsoft Word document. The answer for any question should not exceed one paragraph (5-6 lines). The deadline for submission is 11:59 pm EST Nov. 9th, 2022.
(
Ellison LF, Morrison HI:
Low serum cholesterol concentration and risk of suicide
.
Epidemiology
2001,
12
(2):168-172.
)
Question1 (Max. 0.5 point)
What is the purpose of the study?
Question2 (Max. 0.5 point)
What is the study design? What is the exposure? What is the outcome?
Question3 (Max. 2 points)
How the exposure was measured? How the outcome was measured?
Question4 (Max. 1.5 points)
From Table II, calculate the Crude Rate Ratio for serum total cholesterol <4.27 mmol/l compared to >5.77 mmol/l. (must show the details of calculation)
Question5 (Max. 1.5 points)
What is the meaning of this crude Rate Ratio?
Question6 (Max. 1.5 points)
In Table 3, what is the meaning of age and sex adjusted RR of serum total cholesterol <4.27 mmol/l compared to serum total cholesterol >5.77 mmol/l. Was there confounding by age and sex, why or why not? Is the RR statistically significant? What is the meaning of the 95%CI for the RR?
Question7 (Max. 0.5 points)
Was the ascertainment of the outcome as complete as possible? Was there a follow chart?
Question8 (Max. 0.5 points)
The authors stated in the discussion “The possibility of under-ascertainment of suicide deaths is always a concern, although it is probably unlikely that ascertainment varied by serum total cholesterol level”
Explain what the authors meant by their statement.
Question9 (Max. 0.5 points)
Were those who measured the outcome blinded from the exposure status?
Question10 (Max. 0.5 points)
Have the exposures been well measured, or is there any random or systematic misclassification?
Question11 (Max. 5 points)
Do the “exposed” differ from the “unexposed” with respect to other factors? Have these differences taken into account in the design or analysis? i.e. How the authors dealt with confounding?
1
image1.png
Students will synthesize the information they have gathered during the course to formulate a presentation advocating for a practice change in relation to an area of interest to NP practice.
Creating a Professional PowerPoint PresentationDownload Creating a Professional PowerPoint Presentation
In a PowerPoint Presentation, address the following.
1.
Title Slide
2.
Introduction (1 slide): Slide should identify concepts to be addressed and sections of the presentation. Include speaker’s notes that explain, in more detail, what will be covered.
.
School Effects on Psychological Outcomes During Adolescence.docxWilheminaRossi174
School Effects on Psychological Outcomes During Adolescence
Eric M. Anderman
University of Kentucky
Data from the National Longitudinal Study of Adolescent Health were used to examine school-level
differences in the relations between school belonging and various outcomes. In Study 1, predictors of
belonging were examined. Results indicated that belonging was lower in urban schools than in suburban
schools, and lower in schools that used busing practices than those that did not. In Study 2, the relations
between belonging and psychological outcomes were examined. The relations varied depending on the
unit of analysis (individual vs. aggregated measures of belonging). Whereas individual students’
perceptions of belonging were inversely related to depression, social rejection, and school problems,
aggregated belonging was related to greater reports of social rejection and school problems and to higher
grade point average.
Research on school-level differences during adolescence often
has focused on nonpsychological outcomes, such as academic
achievement and behavioral issues, instead of on psychological
outcomes (Roeser, 1998). Indeed, research on school-level differ-
ences in nonacademic variables is quite rare. The purpose of the
present research was to examine school-level differences in a
variety of psychological outcomes, using a large nationally repre-
sentative sample of adolescents.
School Effects on Student Outcomes
Although there is an abundant literature on effective schools,
most of the research in this literature has focused on academic
variables, such as achievement, dropping out, and grade point
average (GPA; e.g., Edmonds, 1979; Miller, 1985; Murphy, Weil,
Hallinger, & Mitman, 1985). This literature generally indicates
that schools that are academically effective have certain recogniz-
able characteristics.
Some of these studies have examined differences between pub-
lic schools and other types of schools. For example, some research
indicates that students who attend public schools achieve more
academically than do students who attend other types of schools
(e.g., Coleman & Hoffer, 1987). Other research suggests that there
may be a benefit in terms of academic achievement for students
who attend Catholic schools compared with non-Catholic schools
(Bryk, Lee, & Holland, 1993). Lee and her colleagues (Lee,
Chow-Hoy, Burkam, Geverdt, & Smerdon, 1998) found that stu-
dents who attended private schools took more advanced math
courses than did students who attended public schools. However,
they also found specific benefits for Catholic schools: Specifically,
in Catholic schools, there was greater school influence on the
courses that students took, and the social distribution of course
enrollment was found to be particularly equitable.
In recent years, psychologists have started to become interested
in the effects of schooling on mental health outcomes (e.g., Boe-
kaerts, 1993; Cowen, 1991; Roeser, Eccles, & Strobel, 1998;
Rutter,.
Search the gene belonging to the accession id you selected in week 2.docxWilheminaRossi174
Search the gene belonging to the accession id you selected in week 2. Use both Ensembl
https://useast.ensembl.org/index.html
and UCSC
https://genome.ucsc.edu/cgi-bin/hgGateway
genomic browsers to get these genomic/sequence features.
For transcript information including UTRs. provide:
Chromosome
Gene location
Coordinates (exons and introns) these are positions in the sequence
Total exon count -> state if this was the same as what you retrieved from NCBI. Note it could be different because it is a different organism.
ORF Strand: some tools present with signs such as -/+, others will state positive/negative or forward/reverse
promoter region
Coding Region
Coordinates (start and end sequence positions)
coding exon count (this may differ from the total count).
positions for coding exons
Compare and contrast the level of information provided by the two genomic browsers against each other and against the information you were able to get from NCBI resources
.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
Chapter 4 Describing ArtFormal Analysis, Types, and Styles of
1. Chapter 4: Describing Art
Formal Analysis, Types, and Styles of Art
LEARNING OUTCOMES
• Employ a vocabulary of art specific terms and critical
approaches to conduct a formal analysis of works of art.
• Identify different types of art based on the degree of
representation or nonrepresentation a work displays.
• Distinguish between variations of representational qualities
within a work of art.
• Identify characteristics that relate an individual or group of
works to a cultural style, stylistic movement or period, or an
individual artist’s style.
Elements and Principles of Design
Line – expressive, implied
Shape – organic, geometric, hard- or soft-edged
Volume has three dimensions: length, width, and height
Mass is the quantity of matter, often meaning its weight
Texture – actual or implied
2. Color – saturation, brightness, primary, secondary, scheme
(complementary, analogous, monochromatic)
Perspective – linear, atmospheric
Unity/Variety
Balance – symmetrical, asymmetrical
Emphasis/movement
Rhythm/repetition
Formal or critical analysis
A formal of critical analysis an examination of …
the elements and principles of design
present in an artwork and
the process of deriving meaning from
how those elements and principles are used
the ways the visual artist attempts to communicate a
concept,
idea, or
emotion
Representational or Non-representational
Representational art is a visual reference to the experiential
world. The range of representational art is labeled as
naturalistic,
idealized, or
abstract
3. Non-representational or Non-objective is art that does not
attempt to present an aspect of the recognizable world. Instead
of suggesting a narrative by depicting objects meaning in non-
objective art is communicated through shapes, colors, textures,
and other elements and principles of design.
Style
can refer to the general appearance of a work or a group of
works that were created in accordance with a specific set of
principles about form or appearance.
can refer to the art as a whole that was made during a particular
era and within a certain culture.
does the artwork belong to a more specific stylistic movement?
Italian Renaissance? Realism? Abstract Expressionism?
can also refer to how elements and principles of design are
employed by an individual artist: the visual features of that
artist’s work and their characteristics when using a given
medium.
Four Aspects of a Formal Analysis
Description – describe the use of visual elements.
Analysis – how are the elements arranged, describe the artist’s
use of the principles of design.
Interpretation – the combination of what an object symbolizes
to the artist and what it means to the viewer.
Evaluation – judging whether a work of art is successful given
4. what you have understood from your description, analysis, and
interpretation. Using steps 1-3 above can you justify your
emotionally response (joyful, disturbing, calm, energetic) to the
artwork?
J.M.W. Turner, Snow Storm: Steam-Boat off a Harbor's Mouth,
oil on canvas, 1842.
Mood created by …
Colors
Lines
Shapes
Brushstroke
Scale and proportion
8
Mary Cassatt, Lady at the Tea Table, 1883-85, oil on canvas.
Contrast - color
Unity/variety - shapes
Balance – organization
of composition
Contrast - color
Unity/variety - shapes
Balance – organization
5. of composition
9
Representational or Abstract Art
Generally, if the work has visual reference to the phenomenal
world, we consider it to be representational.
Art that shows purposefully simplification, distortion, or
fragmentation of the visual world is referred to as abstract art.
Representational to abstraction is a continuum.
Rosa Bonheur, Ploughing the Nevers, 1849, oil on canvas.
Bonheur’s cows are naturalistic in appearance.
She aims to make them an accurate depiction of the cows she
portrays.
Edward Hicks, The Residence of David Twining, 1846, oil on
canvas, gold leaf.
Hicks had no training as an artist and
visual accuracy was not his primary
goal for his paintings.
6. Exact proportions are exchanged
for simplified shapes in order to
express themes of community.
12
Franz Marc, The Yellow Cow, 1911, oil on canvas.
If we think of representational
and abstraction as a continuum,
at which end does this work rest?
13
Theo van Doesburg, Composition (The Cow), c. 1917, gouache,
oil, and charcoal on paper.
Theo van Doesburg reduces the
linear forces of a cow’s form to
the three forms he thought were
essential components;
vertical, horizontal, and diagonal.
This was his process to create a
strongly abstract picture that titled
Composition VIII (The Cow).
14
7. Theo van Doesburg, Composition VIII (The Cow), c. 1918, oil
on canvas.
Discuss how you see the
cow in this ‘composition’.
Where is the head,
hooves, tail?
15
Statue of Menkaura and Queen Khamerernebty II, 2490-2472
B.C., graywacke.
The subject matter of this Ancient Egyptian sculpture is
a pharaoh and his queen.
A canon is a set of rules, principles, or norms, used to
represent human beings, often gods or rulers. These
principles determine proportions, stance, garments,
as well as other aspects of the human figure.
Idealization is a form of representational art that follows
given canon for the representation of special persons in
a culture.
Marble statue of a kouros, c. 590-580 B.C., marble.
The Ancient Greeks paid great attention to developing their
8. own idealized male figure sculpture based on their
cultural ideal of man is the “measure of all things”.
In what ways is this sculpture representational? Abstract?
17
Polykleitos, Doryphoros from Pompeii, 440 B.C., marble.
In this sculpture the Ancient Greeks developed what they
believed was the epitome of naturalism in the artistic
depiction of the male figure.
We will examine four figures from the ancient Greek styles
Archaic period (800-480 BCE),
to the Early Classical (c. 480-450 BCE),
and then the High Classical period (c. 450-400 BCE),
18
Marble statue of a kouros,
c. 590-580 B.C., marble.
The Kroisos Kouros,
c. 530 B.C., marble.
The Kroisos Kouros,
c. 530 B.C., marble.
9. Kritios Boy,
c. 480 B.C.,
Marble.
Contrapposto is the term for the representation of the weight
shift of the knees and hips that occurs when standing with one
leg at ease or walking.
This pose places the figure’s weight on
one foot, setting off a series of adjustments to the hips and
shoulders that produce a subtle S-curve; a stance many of us use
everyday.
Kritios Boy, c. 480 B.C., Marble.
Kritios Boy,
c. 480 B.C.,
Marble.
Polykleitos,
Doryphoros from
Pompeii,
440 B.C., marble.
Polykleitos, Doryphoros from Pompeii,
440 B.C., marble.
10. Idealized?
Representational?
Naturalistic?
23
Non-Representational or Non-Objective Art
Non-Representational or Non-Objective Art are two terms
that are used interchangeably.
Each term describes, or is a label for, art that does not
attempt to represent or refer to the visible world.
To avoid confusion we will use the term non-objective art.
Wassily Kandinsky, Blue Mountain, 1908-09, oil on canvas.
Is Kandinsky’s painting Blue Mountain
an example of non-objective art?
25
Wassily Kandinsky, Angel of the Last Judgement, 1911, oil on
cardboard.
Do you think that Kandinsky was
able to use color, line, shape,
11. unity and variety to communicate
something of human emotion in
this painting?
26
Wassily Kandinsky, Red Spot II, 1921, oil on canvas.
Style
The three main categories of artistic style are:
Period styles that derive their characteristic structure from the
culture prevalent
during a particular time period.
Regional styles that reflect the influences of the culture
prevalent in a particular place.
Formal styles are used to denote an individual or group of
artists working with
the elements and principles of design to reach similar goals and
are not necessarily characteristic of either one place or one
time.
Style is the term used for characteristic, or a number of
characteristics, that we can identify as constant, recurring, or
coherent with a particular group, or culture, or with an artist’s
work at a specific time.
Regional or Cultural Style
Art is a product of its time and place.
12. Cultural style combines period and regional style in a unique
and distinctive way.
SUPPLEMENT: Map of the Middle and Near East
Standard of Ur, 26th century B.C., “War” panel, 2600 B.C.,
shell, limestone, lapis lazuli, bitumen.
This stone panel is one example of the cultural style of the
Ancient Near East.
A composite view represents portions of the body shown in
profile and other parts of the body in frontal view.
Music Stele, c. 2100 B.C., limestone.
This stele, or stone slab, depicts Gudea with
attendants in one register, or horizontal band of space,
and musicians below.
composite view
32
13. Sargon II and dignitary, 722-705 B.C.E, limestone.
Hierarchical proportion is the use of different sizes of figures to
indicate each figures importance. The larger the figure, the
greater the importance.
Acropolis of Athens.
Cultural Style:
Ancient Greece and Rome
The height, or what was once considered the ‘best’ or pinnacle,
of Ancient Greek art is referred to as Classical.
Today, most Ancient Greek scholars no longer think of one sub-
style being “better” than another.
An acropolis is the highest point in an ancient Greek city and
houses sacred buildings.
The most famous is the Acropolis in Athens, Greece.
Ancient Greek art has many stylistic sub-divisions, including:
Geometric (900-700 BCE)
Orientalizing (700-600BCE
Archaic (600-480 BCE)
Classical
Early Classical (480-450 BCE),
High Classical (450-400 BCE),
Late Classical (400-323 BCE)
Hellenistic (323-31 BCE)
SUPPLEMENT MAP: Greek stylistic sub-divisions
14. Praxiteles, Apollo Sauroctonus, c. 350-340 B.C., marble.
The Late Classical style of Ancient Greek art
represents the human figure as more dynamic,
more expressive, more emotional, more dramatic
than the earlier High Classical style.
Comparatively one figure can be seen as calm and the other
more dynamic.
Discuss the choices made by the artist to create those different
expressions for each sculpture.
37
Glycon of Athens, Hercules Farnese, c. 216 AD, marble.
The Hercules Farnese is an example the Roman Republican
style of art.
The dates of this style overlap with Ancient Greek art,
but it’s geographical location, the Roman Empire,
influenced the artists to work in a different style.
15. Anti-idealized representation has a frank and
unvarnished study of individuals that are often older,
more mature citizens.
38
Togatus Barberini, first century AD, marble.
SUPPLEMENT: Examples of Roman Republican period
sculpture.
Veristic,
or verisimilitude,
means the artist strives
to make a truthful
rendition of a person’s
likeness.
Augustus of Prima Porta, 1st century AD, white marble.
This work dates to the Early Imperial era (27 BCE-197 CE)
Idealization of the human figure is used for representation of
rulers like Emperor Augustus and emphasizes a mental
conception of beauty, a standard of perfection.
Early Imperial era (27 BCE-197 CE)
16. Idealization of the human figure is used for representation of
rulers like Emperor Augustus and emphasizes a mental
conception of beauty, a standard of perfection.
Overall, Roman art is, using broad terminology, naturalistic.
41
The Tetrarchs, 300 AD, porphyry.
Tetrarchy means ”the rule of four”.
This sculpture represents the four co-ruling
emperors, or tetrarchs, who worked together
to rule the four divisions of the vast Roman Empire.
SUPPLEMENT MAP
Marble portrait head of the Emperor Constantine I, c. 325-370
A.D., marble.
SUPPLEMENT: Indian Subcontinent Maps
Elephants on North Torana, Sanchi, India.
17. Stupas are dome-shaped shrines used to house Buddhist relics.
Yakshi are female nature figures and are represented at the
entrance gates to a stupa.
Standing Bodhisattva Maitreya.
A bodhisattva is a being in Buddhism who has achieved
enlightenment but chooses to remain in this world to help others
advance their spirituality.
Maitreya is derived from the Sanskrit word for “friend.”
Buddhism is a religion and philosophy that developed from the
teachings of the Buddha (Sanskrit: “Awakened One”), a teacher
who lived in northern India between the mid-6th and mid-4th
centuries BCE.
Located in Gandhara, known today as Pakistan.
47
Period Styles
Period styles derive their characteristic structure from the
18. culture prevalent
during a particular time period or era.
SUPPLEMENTAL MAP: Romanesque and Gothic Eras in
Europe
The term Romanesque means
Roman-like and identifies European
art and architecture from 1000 CE to 1000 CE.
Gothic is the term for the art and
architecture of Europe, especially northern Europe, from 1100
CE - 1300 CE.
Romanesque and Gothic Eras in Europe
SUPPLEMENTAL: Gothic Cathedral floor plan
Christianity is one of the world’s major religions and stems
from the life, teachings, and death of Jesus of Nazareth (the
Christ, or the Anointed One of God) in the 1st century CE.
A portal is a doorway.
19. Gislebertus, Last Judgement, 1130-45, stone.
A tympanum is the semicircular area above the doors of a
cathedral.
Gislebertus, Last Judgement, 1130-45, stone.
Saints Martin, Jerome, and Gregory, c. 1220-1230, stone.
These Gothic sculptures from a cathedral portal
show greater naturalism than the Romanesque
tympanum figures in the Last Judgment.
54
Masaccio, Holy Trinity, 1425, fresco.
A renaissance is a re-birth or re-awakening.
The Italian Renaissance was a conscious and purposeful revival
of the ideals of Greece and Rome, especially humanism.
Humanism is the belief in the value of humans and their
endeavors. Artists of the Italian Renaissance sought ways to
express themselves as individuals in their art.
Orthogonal lines
Linear perspective
20. Raphael, Madonna and Child Enthroned with Saints, c. 1504, oil
and gold on wood.
Humanism of the Italian Renaissance both
celebrated human intellectual and creative
accomplishments and embraced and
emphasized the humanity of Christ.
Titian, Madonna and Child, c. 1508, oil on wood.
Formal Style
Stylistic Periods or Movements
We will look at examples of stylistic periods;
Realism
Expression(ism)
Abstract Expressionism
Formal Style: Realism
21. Naturalism and Realism mean two different ideas when used in
the context of the visual arts.
Naturalism means of or pertaining to the appearance of nature,
without idealization. The artist strives to make the appearance
of the objects represented corresponds to nature, … to how the
subject of the artwork looks in the natural world.
Realism refers to artworks that relay information or opinions
about the underlying social or philosophical reality of the
subject matter. These works may look naturalistic, but they have
a societal component as well.
Gustave Courbet, A Burial at Ornans, 1849-50, oil on canvas.
The École des Beaux-Arts was the nationally institutionalized
body in control of training and exhibition of art in France.
Gustave Courbet, The Stone Breakers, 1849, oil on canvas.
Ilya Repin, Barge Haulers on the Volga, 1870-73, oil on canvas.
Realism, vs. realism is a stylistic movement that appears across
the western world during the 19th century.
This work is an example of realism from 19th-century Russia.
62
22. Wilhelm Leibl, Three Women in Church, 1878-82, tempera on
mahogany.
Wilhelm Leibl’s painting of rural peasant women
is an example of realism from 19th-century Germany.
George Bellows, Cliff Dwellers, 1913, oil on canvas.
Edward Steichen, Moonlight: The Pond, 1904, platinum print
with applied color.
Gum bichromate is photographic
print process which requires
gum Arabic and bichromate
to be brushed on the surface
of the light-sensitive paper and
allows manipulation of the
final image.
Lucas Samaras, Transformation, 1973, manipulated polaroid
SX-70 print
Lucas Samaras used his fingers and a
stylus to rub and smear the image on
a self-developing polaroid print, thereby
manipulating the photograph to
and create his final image.
23. 66
Expression(ism)
Expressionism in the visual arts gives up a measure of
naturalism in favor of emotional content.
Unknown artist, The Great Goddess Durga Slaying the Buffalo
Demon, c. 1750, opaque watercolor and gold and silver colored
metallic paint on paper.
Pieta Liebieghaus, c. 1390, walnut, remnants of original
polychromy.
Andachtsbilder is the German term for devotional images used
to aid prayer.
SUPPLEMENT: Expressionism in Germany
Neue Sachlichkeit, or New Objectivity
George Grosz, Fit for Active Service, George
Grosz, The White General, 1919,
1916-17, pen and ink. pen and ink.
Abstract Expressionism
Abstract Expressionism was a stylistic
movement that emphasized the
physical properties of the medium used
24. as opposed to pictorial narrative.
Clyfford Still, Untitled, 1957, oil on canvas
Jackson Pollock, The Deep, 1953
Mark Rothko, No. 61 (Rust and Blue), 1953
Individual Style
A catalogue raisonné is a detailed, comprehensive list of the
artist’s work.
Johannes Vermeer, The Geographer, 1669, oil on canvas.
Thirty-four paintings have been attributed to Vermeer.
73
Vermeer, Woman in Blue Reading a Letter, c. 1662-3, oil on
canvas.
Vermeer, The Milkmaid, c. 1657,
oil on canvas.
Vincent van Gogh, Wheat Field with Cypresses, 1889, oil on
canvas.
25. Vincent van Gogh, Wheat Field with Cypresses, 1889, oil on
canvas.
Impasto is the thick
application of paint.
Summary
We outlined a structured approach to understanding an artwork
by using
description, analysis, interpretation, and evaluation to help
recognize how works of art can carry meaning.
We established representational and non-objective as the two
broadest categories of the style of an artwork.
We confirmed that the degree of abstraction in a
representational work is relative, on a continuum, and that
idealization is an off-shoot of representational work that shows
an adjustment of accuracy toward a
mental conception of beauty, a standard of perfection.
Summary
We recognized three broad categories of style as
regional, period, and personal style.
Cultural or Regional examples we examined were form the
ancient Near East, Ancient Greece and Rome, and the Indian
sub-continent.
26. Period styles we examined included the Romanesque and Gothic
periods of Europe and the Italian Renaissance.
19th-century Realism (Germany, Russia, and the United States)
and Expressionism (Germany and the United States)