FAS 202 Milestone TwoAt the end of this week, you will submit Mi.docx

FAS 202 Milestone Two
At the end of this week, you will submit Milestone Two of your
Final Project. In this module, you will work on activities that
will help you prepare to submit your Milestone Two assignment.
Steps for completing Milestone Two:
Step 1: Download and then carefully review the FAS 202
Milestone Two Guidelines and Grading Rubric document.
Step 2: For Milestone One in Module 3, you selected a theme
and corresponding works of art. You also received feedback
from your instructor on your Milestone One. Keep this
information in mind as you work on Milestone Two.
Step 3: Look ahead (if you haven't already) at the Final Project
Guidelines and Grading Guide by downloading it here. Since
Milestone Two is the first step toward your Final Project, it's
good to remember where you will ultimately end up with your
work.
Step 4: Complete all Milestone-related Activities, as they are
designed as pre-writing for Milestone Two.
Step 5: Assemble your Milestone Two document on the
Submission: Milestone Two page in this module. The collation
software will help you assemble your document, which you can
then revise, format, and prepare to submit to your instructor in
Blackboard. You may want to consider jumping ahead to the
Submission page, reviewing the questions it asks you, and then
entering information in as you work through the pages leading
up to the Submission page.
If you are new to drafting an essay, or just want a good
refresher on the writing process, take a moment to review OWL:
Purdue Online Writing Lab. On this site, you will find helpful
information on the writng process, grammar, and MLA citation
assistance.
The important thing at the start of this module is to look ahead
and know what's coming. The module is designed to help you
conceptually frame your Milestone Two, as well as to assemble

it. Looking ahead, though, will help you efficiently plan your
work. Looking ahead will also help you reach out to your
instructor in good time if you have any questions.
Copyright © 2016 MindEdge Inc. All rights reserved.
Duplication prohibited.
Previous
Final Project. In this module, you will
work on activities that will help you prepare to submit your
Milestone Two assignment.
Step 1:
Download and then carefully review the FAS 202 Milestone
Two Guidelines and Grading Rubric
document.
and corresponding works of art. You also
received feedback from your instructor on your Milest
one One. Keep this information in mind as you
work on Milestone Two.
Guidelines and Grading Guide by
downloading it here. Since Milestone Two is the first step
toward your Final Project, it's
good to

remember where you will ultimately end up with your work.
Step 4: Complete all Milestone
-
related Activities, as they are designed as pre
-
writing for Milestone Two.
Submission: Milestone Two page
in this module.
The collation software will help you assemble your document,
which you can then revise, format, and
prepare to submit to your instructor in Blackboard. You may
want to consider jumping ahead to the
Submission page, reviewing the questions i
t asks you, and then entering information in as you work
through the pages leading up to the Submission page.
refresher on the writing process, take a moment
to review OWL: Purdue Online Writing Lab.
On this site, you will find helpful information on the writng
process, grammar, and MLA citation assistance.
and know what's coming. The module is
designed to help you conceptually frame you
r Milestone Two, as well as to assemble it. Looking ahead,
though, will help you efficiently plan your work. Looking ahead
will also help you reach out to your

Copyright © 2016 MindEdge Inc. All rights r
eserved. Duplication prohibited.
Previous
Final Project. In this module, you will
work on activities that will help you prepare to submit your
Milestone Two assignment.
Step 1: Download and then carefully review the FAS 202
Milestone Two Guidelines and Grading Rubric
document.
and corresponding works of art. You also
received feedback from your instructor on your Milestone One.
Keep this information in mind as you
work on Milestone Two.
Guidelines and Grading Guide by
downloading it here. Since Milestone Two is the first step
toward your Final Project, it's good to
remember where you will ultimately end up with your work.
Step 4: Complete all Milestone-related Activities, as they are
designed as pre-writing for Milestone Two.
Submission: Milestone Two page in this module.
The collation software will help you assemble your document,
which you can then revise, format, and
prepare to submit to your instructor in Blackboard. You may
want to consider jumping ahead to the
Submission page, reviewing the questions it asks you, and then
entering information in as you work
through the pages leading up to the Submission page.

refresher on the writing process, take a moment
to review OWL: Purdue Online Writing Lab. On this site, you
will find helpful information on the writng
process, grammar, and MLA citation assistance.
and know what's coming. The module is
designed to help you conceptually frame your Milestone Two,
as well as to assemble it. Looking ahead,
though, will help you efficiently plan your work. Looking ahead
will also help you reach out to your
Copyright © 2016 MindEdge Inc. All rights reserved.
Duplication prohibited.
Previous
Post Impressionism
The Starry Night, Vincent van Gogh, 1889.
What to expect in Module 5:
1. You will prepare a draft of your Final Project and submit part
of it in the Rough Draft Workshop
for Discussion Board 5-1.
2. You will prepare a draft and submit it in its entirety as Milest
one Two.
3. Finally, you will explore Post Impressionist art.
Take careful notes of all vocabulary terms and key concepts thr
oughout this module. Use the provided

review questions, exercises, and games to test your knowledge.
Doing so will prepare you for both the
Discussion Board this week and Milestone Two.
Learning Objectives and Graded Activities
The following activities will be graded:
Discussion Board 5-1
Milestone Two
NOTE: There is no graded quiz for this module.
These activities support the learning objectives for this module:
Interpret meaning in visual and literary analyses
Propose alternate and/or additional interpretive analyses of art
Contrast formal characteristics between two works of art
Explain how culture, history, and society are reflected through a
rt
Describe how two works of art approach a shared theme as a pro
duct of their historical setting and
culture
Copyright © 2016 MindEdge Inc. All rights reserved. Duplicati
on prohibited.
Timeline of Post Impressionism
Video: Post Impressionism

Post-Impressionism
Post-Impressionism was an art movement of the early
20th century that was influenced by
Impressionism but had a greater emphasis on expression, structu
re, form, and emotional response.
Some of
the major Post-Impressionist artists were Paul Cézanne, Georges
Seurat, Vincent van
Gogh, Henri Matisse, Paul Gauguin, and Henri de Toulouse-Lau
trec. Cézanne and Seurat fell into
the category of Post-Impressionists known as "Formalists," as th
eir paintings portrayed even more
structured images than the Impressionists. Van Gogh,
Gauguin, and Toulouse-Lautrec were
known as "Expressionists," who wanted to be more expressive a
nd emotional in their works.
Even within these different groups, individual painters had
widely diverging and distinctive
stylistic paths in search of authentic intellectual and artistic pur
suits. Post-Impressionists did not
view themselves as part of a collective group at the time, in the
way the Impressionists did, but
they shared a common departure from the naturalism of Impress
ionism and a shared exploration
of abstract tendencies.
Post Impressionism
Key Concepts: Post Impressionism
Post Impressionism was an art movement of the early 20th centu
ry that, while influenced by
Impressionism, emphasized a greater concern for expression, str
ucture, form, and emotional

response.
Post Impressionists were interested in portraying forms and colo
rs not found in the natural
world.
During the 1880s, the Post Impressionists, though not
formally recognized as a group at the time,
evolved out of the Impressionist style toward greater concern fo
r self-expression and form. There were
two categories of Post Impressionist artists: "formalists" such as
Paul Cézanne, who were concerned
with new ways to represent volume and three-dimensional form;
and "expressionists" such as Vincent
van Gogh, who sought to express the emotional and expressive
qualities of art. Both groups were part
of a general cultural shift away from the materialism of
the previous decades and a return to
individualistic attempts to express modern life, nature, and hum
an experience.
Contextual influences during this period included inspiration fro
m nonwestern culture (in an imperial
era that saw greater exploration of other parts of the world) and
a new understanding of physical reality
in the wake of significant scientific and technological discoveri
es. In many ways, these painters laid the
conceptual foundation for the development of nonrepresentation
al art that flourished in the 20th century.
Technology, Science, and Art
Industrial technologies, such as electricity, synthetic paints, and
photography, impacted both how the
world was (literally) seen but also how it was represented. The
development of synthetic paints, for
example, allowed artists to expand their palettes with brilliant h

ues. The invention of portable paint
tubes enabled artists to paint en plein air, meaning in "open air.
" Impressionist artists embraced en
plein air painting, as it gave them natural light and a more imme
diate perspective of the natural and
urban world around them.
During the 19th century, Post Impressionist artists were not onl
y influenced by, but also incorporated
scientific innovations into their creative process. Michel Eugene
Chevreul, Odgen Rood, and Charles
Blanc created color theories and systems that directly impacted
Post Impressionist techniques and color
palettes. Review the slideshow below to learn more about how t
he science of topics and color theory
affected Post Impressionists.
Optics, Color Theory, and Impressionism.
Michel Chevreul's color wheel (PD in the U.S.).
Michel Eugene Chevreul was a French chemist who, in 1824, di
scovered
the law of simultaneous contrast: Colors, when placed next to o
ne
another, imposed a complementary color on the other. When mi
xed
according to complementary colors, paint gave an optical effect
that
either enhanced or muted the colors' intensities. In order to dem
onstrate
which colors would have which complemetary impact on other c
olors,
Chevreul developed a circular color system that paired complem

etary
colors and would provide a new way for painters to create color.
Michel Eugene Chevreul (PD).
Additionally, Chevreul suggested painting techniques that woul
d make
good use of his color system. For example, Post Impressionist p
ainters
began to apply paint using individual brushstrokes, which would
require
the viewer's eye to combine them optically. Later, Post Impressi
onist
painters would apply tiny dots of color that, when combined opt
ically,
created a cohesive image.
Night Cafe by Vincent van Gogh (1888).
Chevreul also influenced the French Romantic painter Eugene
Delacroix, who, using Chevreul's color system, was able to bett
er
represent vibrant, bold colors through pigment experimentation.
Impressionist and Post Impressionists would later, in turn, be in
fluenced
by Delacroix's innovative use of color.
The Death of Sardanapalus by Eugene Delacroix (1827).
Another color theorist whose scientific approach to color would
affect
Post Impressionist painters was Ogden Rood. Rood was an Ame
rican
physicist who, in his 1879 book titled Modern Chromatics, with

Applications to Art and Industry, divided color three ways: puri
ty,
luminosity, and hue. Rood, like Chevreul, developed a complem
entary
color wheel that could change the mood and tone of a painting.
His work
was influential on George-Pierre Seurat, a Post Impressionist pa
inter, in
his use of pointilism. In pointilism, small dots of color are appli
ed to the
canvas individually, but when viewed collectively, they come to
gether in
a cohesive picture.
A Sunday Afternoon on the Isle de la Grande Jette, (1884-1886)
. Photograph courtesy of Wikipedia user
Marianika (PD).
Charles Blanc, a French art history professor and the director of
the
Beaux Arts from 1848-1852, built upon the color theory ground
work
laid by Chevreul and Rood and continued to merge art and scien
ce by
asserting that mixing colors optically (such as we see in pointili
sm)
created the most pure and intense in colors. He used a color "sta
r" to
demonstrate complementary colors. Blanc asserted that white lig
ht
(created by combining a primary color and its complement) is th
e
combination of all colors and that some color complements dest
royed
one another, while others achieved their maximum vibrancy.
RGB color wheel. Photograph courtesy of Wikimedia user DanP

MK (CC
BY-SA 3.0).
The scientific advances in optics, color chemistry, and color the
ory
opened new doors of possibility for artists to capture light and c
olor.
The Bather by Paul Cézanne, c. 1885 (PD).
Characteristics: Post Impressionism
Some of the common characteristics of Post
Impressionism include:
diverse approaches and artistic techniques
divergence from Impressionism's naturalism
and focus on immediate visual perception in
favor of deeper thematic symbolism
less focus on technique and more on emotional
expression
experimentation with composition and structure
the use of bright colors and expressive forms
a greater use of painterly strokes
Post Impressionist Art
Key Concepts: Post Impressionist Art
Post Impressionists focused on conveying emotions and persona
l responses.
Like Impressionists, Post Impressionists were not concerned wit
h being realistic or abstract.
Artists such as van Gogh and Gauguin were inspired by

the expressive quality of
Impressionism, while Cézanne and Seurat were more interested
in the structured features of
Impressionism.
A shift towards abstraction in art occurred in the late
19th century as artists put more
emphasis on a point of view or perception than on the perceived
object.
Post Impressionist artists had a greater
concern for expression, structure, and form
than did the Impressionists.
Post Impressionists also emphasized their
emotions and personal responses in their
paintings, which consequently were more
expressive and figurative in nature. Post
Impressionists were interested in portraying
forms and colors not found in the natural
world, and they echoed Impressionists in
being neither realistic nor abstract.
Major Post Impressionists included Paul
Cézanne, Georges Seurat, Vincent van Gogh,
Henri Matisse, and Paul Gauguin.
Post Impressionist artists employed aspects
of Impressionism in their work, typically
expanding or exaggerating some technique or approach.
Some art historians categorize Post
Impressionists into two groups: a) those painters drawn to
the more structured features of
Impressionism (Paul Cézanne and Georges Seurat) and b)
those who turned to the emotional and
expressive qualities of Impressionism (Vincent van Gogh, Paul
Gauguin, Henri de Toulouse-Lautrec).

Paul Cézanne innovated with a geometric approach that
created planes of color, borrowing from
Impressionism's separation of colors.
Georges Seurat, who wanted a more scientific use of
color, adapted the daubed paint and broken
brushwork of Impressionism into Pointillism with its
tiny, bright colored dots. "Some say they see
poetry in my paintings," he said. "I see only science."1
Vincent van Gogh took Impressionism's bold color palette
and use of impasto to communicate his
emotional reaction to the world. "I dream of painting and then I
paint my dream," he explained.2
Paul Gauguin moved toward more vivid styles and symbolic con
tent. Later in his career, he became
known for his focus on primitive art, with its flat forms and the
violent colors, and painted scenes of
native life in Tahiti and Polynesia.
Gauguin explained his approach in an interview in 1895: "I arra
nge lines and colors so as to obtain
symphonies, harmonies that do not represent a thing that is real,
in the vulgar sense of the word, and do
not directly express any idea, but are supposed to make you thin
k the way music is supposed to make
you think, unaided by ideas or images, simply through the myste
rious affinities that exist between our
brains and such arrangements of colors and lines."3
Henri de Toulouse-Lautrec shared the Impressionist

appreciation of Japanese woodcut prints and
painted scenes of Parisian nightlife that relied on a painterly ap
plication of paint with long, thin strokes.
Author Jane Bingham has noted: "The Post Impressionist artists
took Impressionism in new directions,
forming a bridge between the Impressionists and the art
of the twentieth century. Their interest in
pattern, color, and symbolism inspired many later artists and de
signers."4
Notes
1. Ings, S. (2008). A natural history of seeing: The art and scien
ce of vision. New York: W.W. Norton.
2. McAfee, B. (2011). Full voice: The art and practice of vocal
presence. San Francisco, CA: Berrett-Koehler.
3. Tardieu, E. (1895, May 13). Interview with Paul Gauguin. L'
Écho de Paris, p. 110.
4. Jane Bingham, Post Impressionism (Mankato, MN: Heineman
n Raintree, 2008), p. 39.
Key Post Impressionist Art
Here are examples of Post Impressionist art.
The Bather by Paul Cézanne was part of a larger series of works
by
Cézanne depicting various subjects as bathers. The hazy distorti
on of
the subject's form and the unnatural color of the sky and landsca
pe
behind him are characteristic of the Post Impressionist emphasis

on
unnatural colors and quasi-abstract form.
The Bather (c. 1885) by Paul Cézanne (PD).
The broad depiction of form in this painting is representative of
Cézanne's Post Impressionist style. Cézanne sought to maintain
the
basic form of his subjects and use bright colors to give them an
impressionist feel. However he only ever maintained the most b
asic
form of his subjects instead of going into too much detail.
La Montagne Sainte-Victoire (1885) by Paul Cézanne (PD).
The Bathers represents the Post Impressionist emphasis on the a
bstract
that was still relatively grounded in reality. The nature of the la
ndscape
and the human form in the painting cannot be found in nature an
d is
thus abstract; however it is still possible to determine what they
are. In
addition the application of thick brush strokes and distortion of
geometric forms were common Post Impressionist elements.
The Bathers (1905) by Paul Cézanne (PD).
Widely regarded as one of his greatest works, van Gogh's Starry
Night
shows how he painted his scenes slightly out of perspective wit
h
unnaturally jarring colors. This was representative of the Post
Impressionist preference for abstract reality: a presentation that

was
abstract but still recognizable.
The Starry Night (1889) by Vincent van Gogh (PD).
Post Impressionists were particularly fond of painting still life.
This
painting was part of a larger series of sunflower images by van
Gogh
and is an example of how Post Impressionist painters applied un
natural
colors to natural subjects. This painting also continues the them
e of
slightly-removed-from-reality. The color of the sunflowers are s
imilar
enough to reality for them to be recognized as sunflowers, but t
hey are
abstract enough to constitute shapes—impressions of flowers.
Sunflowers (1888) by Vincent van Gogh. Photograph courtesy o
f The
Yorck Project (PD).
This seemingly realistic painting still retains some of the abstra
ct
qualities that were typical of Post Impressionist art. Although th
e
colors of the flowers are relatively realistic, the soil, the flower
s in the
background and the form of the flowers themselves are all slight
ly
distorted, giving the image an abstract feel.
Irises (1889) by Vincent van Gogh. Photograph courtesy of Wik
ipedia

user Mefusbren69 (PD).
Georges Seurat's revolutionary style of Pointillism, of abandoni
ng
brushstrokes for dabbing at the canvas with the tip of a tightly r
olled
brush dipped in paint, is on full display in Sunday Afternoon on
the
Îsle de la Grande Jatte.
Sunday Afternoon on the Îsle de la Grande Jatte (1884-1886) by
Georges Seurat. Photograph courtesy of Wikipedia user Mariani
ka
(PD).
Paul Gauguin's painting depicts two topless Tahitian women, on
e with
a tray of fruit, the other with a small bouquet of flowers, in a vi
brant
primitivist style. The colors are bright and rich, and he uses sim
plified
figures and flat planes. Gauguin pays homage to earlier artistic
tradition by connecting (and comparing) female breasts to fruit
or
flowers.
Two Tahitian Women (1899) by Paul Gauguin. Photograph court
esy of
Wikipedia user Oxag (PD).
Lautrec's painting of Parisian nightlife captures the somewhat
decadent 'end-of-the-century' feel of this music hall. The harsh l
ighting
and melancholy figures endow the painting with an emotional p
ower.

At the Moulin Rouge (1892) by Henri de Toulouse-Lautrec (PD)
.
Vincent van Gogh, The Night Café, 1888
The Rise of the Abstract
With their focus on human subjectivity, Romanticism and
Impressionism had introduced greater abstraction in art. Art
up until the 19th century depicted scenes or events in the real
world; by the 20th century, much art no longer did. The shift
towards abstraction in art occurred as artists put more
emphasis on a point of view or perception than on the
perceived object.
While Renaissance artists are celebrated for their ability to
imitate three-dimensional reality in two-dimensional form,
Vincent van Gogh deliberately created his The Night Café
(1888) slightly out of perspective and in unnaturally jarring
colors in order
to provoke a feeling of unease. While no one would mistake The
Night Café for a
photograph, the space itself is still recognizable as a room with
a pool table, chairs, tables, and lights.
Similarly, Claude Monet's Impression, Sunrise (1872), which ga
ve Impressionism its name, has what is
recognizably a boat with people in the foreground.
Wassily Kandinsky and Frantisek ushered abstract art onto the s
cene around 1910.
Art Nouveau

Key Concepts: Art Nouveau
Art Nouveau was an international style of art, architecture, and
design that emerged in the late
19th century, which favored sinuous lines, curves, and
organic motifs, such as plants and
flowers.
Popular Art Nouveau images included graceful and slender fema
le figures, bird and animal
designs, repeating patterns, fantasy-related subjects and the use
of gold and silver colors.
Other artists during the period were influenced by Japanese woo
dblock prints, which featured
floral motifs and "whiplash curves" (a connected series of
reverse curves of more or less
elliptical form).
An international style of art, architecture, and design that
emerged in the late 19th century, Art
Nouveau (French for "new art") favored sinuous lines, curves, a
nd organic motifs, such as plants and
flowers. It often took inspiration from the unruly aspects of nat
ure.
Popular Art Nouveau images included graceful and slender fema
le figures, bird and animal designs,
repeating patterns, fantasy-related subjects and the use of gold a
nd silver colors. Art Nouveau designs
surfaced in glassware, jewelry, and other decorative objects.
Many artists during the period were influenced by Japanese woo
dblock prints, which featured floral
motifs and "whiplash curves" (a connected series of reverse cur
ves of more or less elliptical form).

Art Nouveau architects turned to asymmetrical shapes,
decorative surfaces, curved forms, and an
extensive use of arches. They favored mosaics, stained glass, an
d an organic look mimicking plants and
nature. Leading architects included Spain's Antoni Gaudí, Germ
any's Otto Wagner, and the Americans
Louis Sullivan and Louis Comfort Tiffany.
Characteristics: Art Nouveau
Some of the common characteristics of Art
Nouveau include:
international movement of art, architecture, and
design
use of sinuous lines, curves, and organic motifs,
such as plants and flowers
popular images include graceful female figures,
bird and animal designs, repeating patterns,
fantasy-related subjects
use of gold and silver and dramatic colors
influenced by Japanese woodblock prints
"The unfolding of Art Nouveau's flowing line
may be understood as a metaphor for the
freedom and release sought by its
practitioners and admirers from the weight of
artistic tradition and critical expectations,"
Cybele Gontar of the Metropolitan Museum
of Art has noted2. Art Nouveau, as its name
indicated, represented a break with
neoclassical and classical traditions.
"Art [N]ouveau's early influence was

Japanese print art disseminated throughout
Western Europe but as the movement gained
momentum, the style became more
ostentatious and free-form—design schemes
started to feature mythical beasts, screaming
masks, twisting flora, goddesses and
goblins," author Tom Masters has noted.1
A precursor to Modernism, Art Nouveau lasted until the First W
orld War.
Notes
1. Masters, T. (2009). Europe on a shoe-string Oakland, CA: Lo
nely Planet, 2009, p. 724.
2. Gontar, C. (n.d.). Art nouveau. Retrieved from www.metmuse
um.org/toah/hd/artn/hd_artn.htm
Gustav Klimt
Following in the footsteps of Impressionists and
Post-impressionists, Art Nouveau artists
challenged previous notions of art by looking to the future inste
ad of the past.
While many prior art movements valued what came before, the
Art Nouveau movement sought to
create something new and distinctly modern.
As a new century approached, artists questioned modernity
and attempted to create a new
aesthetic that would reflect the modern age. In search of someth
ing new, many artists turned to
nature, mimicking the shapes, lines, and movement found natura
lly in the world around them.

Alternately, other artists found greater inspiration by
turning inward, uncovering new, artistic
insight in their own imaginations, dreams, and spirituality, rathe
r than what was present in nature.
This attention to the inner-self inspired an art movement known
as Symbolism.
One of the leading figures of the Symbolist movement
was Gustav Klimt. Klimt's work
exemplifies a fascination with the inner-self by exploring
eroticism, expressing sexuality, and
depicting dream-like illustrations or scenes.
Klimt's style is defined by distinct patterning, bright colors, and
a strong focus on female subjects.
Some of his most well-known works were created during
his "golden phase," a phase of his
artistic career during which he used gold leaf to embellish his p
aintings and achieve a supernatural
aesthetic.
http://www.metmuseum.org/toah/hd/artn/hd_artn.htm
One of Klimt's exemplary pieces is "The Kiss," which is a richl
y intimate illustration of a couple
held in a tight embrace. The use of gold in this piece achieves s
everal different aesthetic goals: it
gives the piece an other-worldly, ethereal feeling; it draws the v
iewer in and creates depth; and it
reworks the aesthetic of early, religious iconography in a
way that is distinctly modern and
abstract, using gold to emphasize sexuality and sensuality instea
d of as a symbol of sainthood or
righteousness.

In this piece, as with many others, Klimt uses intricate patterns-
-blocks of color, subtle swirls, and
circles of color--to complicate the scene and create visual intrig
ue. The patterning in this piece
differentiates the strong, masculine figure from the kneeling, fe
minine figure.
In "Portrait of Adele Bloch-Bauer" Klimt uses even
greater pattern variety to emphasize his
subject's high social standing and communicate a feeling of roya
lty.
Bold squares, broad strokes, gold speckling, varied
triangles, zigzagging lines, and a distinct
Egyptian-eye pattern merge to create a sea of textured gold. If y
ou look closely, you can see how
Klimt used different, intricate patterns to offset Adele's dress an
d create the illusion of a throne
behind her.
The collection of Klimt's work suffered a great loss when, durin
g World War II, the Nazi's deemed
his work "degenerate," fearing its sexuality, eroticism, and
abstraction. Although viewed as
"degenerate" work, the Third Reich later sponsored an
exhibition of Klimt's work in Vienna,
Austria, and eventually the Nazi's celebrated Klimt, deeming hi
m a national icon.
This adoration would eventually lead to the destruction of a gre
at deal of his work, as Nazi forces
burned many of Klimt's pieces in a last effort of control before s
urrendering. Despite this loss,
Klimt's surviving body of work continues to make a
lasting impression, melding vivid colors,

distinct patterns and shapes, and luscious, shimmering gold to c
reate scenes that catch our eye and
capture our attention.
Key Art Nouveau Art
Here are some examples of Art Nouveau works of art.
The presentation of a graceful slender female subject characteri
zed by
curves and a gold color represent the tenets of the Art Nouveau
movement.
Portrait of Adele Bloch-Bauer (1907) by Gustav Klimt. Photogr
aph
courtesy of Wikipedia user Venerator (PD).
The entire canvas of The Kiss is detailed in gold, true to its Art
Nouveau style, and it features a repetition of curves and circular
shapes, embedded in the attire of both subjects.
The Kiss (1908-1909) by Gustav Klimt (PD).
The Peacock Skirt by Beardsley reflects the influence that Japan
ese art
had on Art Nouveau artists. The Eastern style of presentation an
d the
whiplash curve of the subject's cape are representative of some
of the
common elements in Art Nouveau.
The Peacock Skirt (1893 by Aubrey Beardsley. Photograph cour
tesy of
Wikipedia user Perhelion (PD).

A graceful young woman is the focus of this work by Mucha. Th
e
colors chosen and emphasis on curves and flowing lines make th
is a
sensuous depiction.
Autumn (1896) by Alphonse Mucha (PD).
Henri Matisse,
Woman With a Hat
This illustration for the Russian folk tale The Tale of the Golde
n
Cockerel by Ivan Bilibin is an example of the internationalizatio
n of
Art Nouveau. The folkloric setting, the use of rich colors, and t
he
integration of sinuous patterns (such as on the tent walls) mark t
his as
Art Nouveau.
Illustration for The Tale of the Golden Cockerel (1906) by Ivan
Bilibin
(PD Russia).
Gaudi's Casa Batlló in Barcelona reflected the emphasis Art No
uveau
architects placed on floral and natural motifs in their work.
Casa Batlló (1904-1906) by Antoni Gaudi. Photograph by Wikip
edia
user Sabalas (CC BY-SA 3.0).

Early Modernist Art
Key Concepts: Early Modernist Art
Modernism is a broad term to describe the artistic
movements of the late 19th and 20th
centuries.
These movements challenged traditional representational art for
ms and developed new styles
and forms. Among these movements were fauvism, cubism, and
expressionism.
Modernist painters approached their art with a spirit of
experimentation and an openness to the
functions of art. An important trend was the movement toward a
bstract, non-objective art that began
with Impressionism and was advanced by Post-Impressionist art
ists.
The development of photography and cinema meant painting, dr
awing, and sculpture were no longer
the only visual means of depicting the world. Abstract art move
d Modernist artists into a new limitless,
subjective space filled by the imagination.
Many Modernist styles of painting relied on abstraction,
which transformed
recognizable scenes or objects into new expressive works of art.
Henri Matisse, Innovator
Matisse, along with Pablo Picasso, was one of the two most infl
uential artists in
20th century art. His work coalesced many of the important artis
tic avant-garde
techniques of the late-19th and early-20th centuries. Matisse's r

adical use of color
in his 1905 Woman with a Hat provoked the charge that he was
a "wild beast,"
(fauve in French), which provided the name for the artistic mov
ement he headed,
Fauvism.
Matisse's work at this time was characterized by strong,
flat colors and by the abstract shapes of
Cubism that he is best known for; however, early in his career,
he had produced traditional realist art
and by the end of his career, some of his art was completely abs
tract. Because he was such a long-lived
and prolific artist, he came under the influence of a wide range
of artists, primarily the Impressionists
and Post-Impressionists, and in turn influenced many younger ar
tists. He produced drawings, paintings,
sculptures, cutouts, murals, as well as writing a number of signi
ficant articles on contemporary art.
Modernist Styles
Fauvism
Fauvism (from the French word fauve, meaning "wild beast") su
rfaced in the early years of the
twentieth century as a break from Impressionism. Fauvist
painters adopted spontaneous, bold
reactions to nature and employed vibrant, wild colors
directly from the tube to match their
subjective vision. "I used color as a means of expressing my em
otion and not as a transcription of
nature," Fauvist André Derain explained.

The Fauvists were influenced by earlier artists, like Vincent van
Gogh and Paul Gauguin, who had
made use of bold, vibrant colors. Fauvist art was characterized
by a rough, unfinished look and by
bold sometimes clashing colors on flattened space along
with flowing images. Many Fauvists
painted with distorted linear perspective in the seascapes and la
ndscapes they created.
Several techniques allowed Fauvist painters to
communicate emotional expression: they used
patterns and contrasting colors, smeared and daubed pure and un
mixed paints on their canvases,
and employed unnatural and clashing color combinations.
Henri Matisse's Les toits de Collioure
André Derain's Portrait of a Man with a Newspaper
Cubism
Cubism, considered by some the most influential art style of the
twentieth century, began in Paris
with Pablo Picasso and Georges Braque early in the century. Cu
bist painters represented a subject
from multiple angles, using simplified geometric forms.
They often broke up, analyzed, and
reassembled an object in an abstract form to illustrate
the deconstruction and reconstruction of
reality.
Pablo Picasso's Guernica and Les Demoiselles d'Avignon (The
Young Ladies of Avignon)
Juan Gris, Portrait of Picasso
Georges Braque's Violin and Candlestick
Expressionism

Expressionism was found in many modern art forms, but
it generally describes art that raises
subjective feelings above objective observations and focuses on
conveying emotions. Painters in
the German Expressionism school, circa 1905, dwelt on darker h
uman emotions.
Edvard Munch's The Scream
Käthe Kollwitz Woman with Dead Child
Vocabulary
Post Impressionism
Art movement of the early 20th century that, though influenced
by
Impressionism, emphasized a greater concern for expression, str
ucture, form,
and emotional response.
Art Nouveau
Art movement of the late 19th century through early 20th centur
y that favored
sinuous lines, curves, and organic motifs, such as plants and flo
wers.
Modernism
Artistic movements of the late 19th and 20th centuries which ch
allenged
traditional representational art forms and developed new styles
and forms.
Fauvism
Art movement of the early 20th century that emphasized sponta

neous, bold
reactions to nature and employed vibrant, wild colors.
Cubism
Art movement of the early 20th century that represented a subje
ct from
multiple angles, using simplified geometric forms.
Expressionism
Art movement of early 20th century that emphasized subjective
feelings above
objective observations and focused on conveying emotions.
symbolism
The use of a symbol, object, or image to represent something els
e (that is, a
concept or idea).
Pointillism
School of painting in late 19th-century France that emphasized t
he application
of paint in small dots and brush strokes.
motif A single or repeated design or pattern.
Analysis: An Overview
Milestone Two involves taking the theme and the two works of
art paired with them, which you chose
in Milestone One, and exploring their similarities and difference
s. Furthermore, it involves creating
meaning and relevance around these similarities and differences
.

Your first step in this process is to look closely at each work of
art individually and to analyze what
you see, but what does it mean to analyze a work of art? Unders
tanding the difference between simply
summarizing what you see and analyzing it is central to your su
ccessful completion of Milestones Two
and the Final Project and to your growth as a university student.
Analysis vs. Summary
When analyzing a work, you want to be sure to not only point o
ut
items that stand out but also to consider and then write about th
e
significance of why these items stand out. Analysis is about the
"so what?" Asking yourself "so what?" will move your thinking
and writing from a summary to an analysis.
Let's say you see something that is repeated more than a couple
of times within one piece of art or
across two pieces of art. A
summary would mean that you point out and describe that somet
hing is
repeated and how many times it is repeated. An
analysis would summarize what you see but then
would ask: So what? What is significant about this
repetition? What deeper meaning might this
repetition reveal? What is the meaning? Why is it significant to
understand the repetition?
Analyzing a work of art can feel awkward because there is not n
ecessarily a "right" answer all the time.
Because analysis is about interpretation of what you see, it is so
metimes subjective. That said, even a
subjective look at a work should be substantiated by what you s
ee (providing details) and what you

know about the context in which it was created (tying those deta
ils to broader historical and cultural
meaning).
Moving from simple summary to analysis means engaging what
you see with what you've learned so
far in this course and through your own research. Instead of sim
ply pointing out what you see, discuss
what is significant and important about what you see. Explain w
hy it's important by connecting what
you see with the terms associated with an artwork's time period,
style, and form.
Formal and Contextual Criticism
We can approach a work of art through several kinds of analysis
. Formal criticism of art applies to
what you can see in the object of art itself: lines,
curves, shape, form, space, color, and texture.
Contextual criticism applies to what you can't necessarily see: t
he history, culture, and other situations
that gave rise to the artist's work and vision. In Milestone Two
and the Final Project, you will use both
types of critical analysis.
Formal criticism
Formal criticism focuses on the work of art in a descriptive way
, criticizing only what we see and hear
(excluding most external information, such as historical
context and intent of the artist). Formal
analysis typically consists of four aspects:
Description: What is it?

Analysis: How did the artist do it?
Interpretation: Why did the artist create it?
Evaluation: What does it effectively represent?
This formal analysis, in theory, is supposed to be objective and
not attentive to the viewer's emotional
response. What is the color scheme like? What materials
are used? Are the lines/curves vertical,
horizontal, diagonal, or mixed? Lots of space or are things cram
ped? How about the distance between
elements in the piece?
Contextual criticism
Contextual criticism adds to formal criticism—
the facts and information about the artist, his or her life,
the culture and history involved, etc., which provides context fo
r our evaluation and interpretation.
A contextual analysis brings to bear the personal, cultural, socie
tal, and political background of the
piece. Who commissioned the work? Why? Was it
the Church, State, or a private party? To whose
glory was the piece executed? Why was this particular artist cho
sen? What else has that artist done?
What were other artists of the same period doing? What influenc
ed the artist? Who was his or her
teacher? This analysis will also examine the intellectual
background of the artist, piece, and time
period. What was the philosophical influence of the day?
What about the subject—is it biblical,
historical, or literary?
Gender also plays a role in the contextual analysis, both of the a
rtist and the subjects depicted in the
piece. Is there evidence of patriarchy or matriarchy? Where is

the piece of art seen? Where was it
intended to be seen? A church? A public square? A private hom
e? A government building? And who
was meant to see it?
Lastly, what was the effect on the viewer? Now we have the sub
jective and emotional response of the
viewer enter into the analysis. Were viewers driven to
worship more fervently? To fight for their
country more fiercely? Or, perhaps, to view local and national p
olitics differently?
Introduction and Context Paragraphs
Milestone Two's Guidelines and Grading Rubric requires that yo
u
analyze both works of art for their historical
significance. You
started this process in Milestone One, so for Milestone Two, yo
u
will expand on your analysis by providing more descriptive deta
il
of what you see, more discussion of the significance of what yo
u
see, and more research to substantiate the significance
you are
discussing.
As you start to draft your essay, you will first want to write an
introduction paragraph and a context paragraph. This page will
cover these two types of paragraphs and
their purpose in your essay.
Introduction paragraphs

An introductory paragraph's purpose is to simply introduce the t
opic you will discuss in your essay and
to provide a main point for your essay. The introduction should:
identify the works of art
identify the artists
identify the time dates and/or time periods in which the work of
art were created
briefly introduce the main purpose of the essay
The good news is that the work you did for Milestone One will s
erve as a draft of your introduction
paragraph — so you've already started the writing process!
Context paragraphs
In order for your reader to better understand your analysis, you
will want to first provide your reader
with context. This context should include any relevant historical
, cultural, and biographical information
that will help her or him better understand the works of art you'
ve selected and why you've chosen to
compare and contrast them. Your essay draft will introduce each
work of art, provide context for each
work of art, and begin analyzing each work of art's larger, histo
rical significance.
Examples: Introduction and context paragraphs
In Milestone One, we saw a writer's work on comparing two wor
ks of art, one by Betye Saar and one
by an unknown 19th century painter.
Introduction

The introductory paragraph simply introduces the two works of
art, the artists, and the time periods
represented by each painting. This is the information you
gathered and organized for your
Milestone One submission. It's fine to use that assignment as yo
ur introduction paragraph, just be
sure to make any necessary revisions in response to feedback fr
om your instructor.
In this paper I will evaluate two artworks that share similar the
mes,
and I will consider a contemporary expression of one of those th
emes. The
first painting is by an unknown artist and is titled Robert, Calvi
n, Martha,
and William Scott and Mila (which I'll simply call Mila). It was
created some
time between 1843 and 1845 and depicts a group of white childr
en with an
African American slave caretaker. The assemblage piece
by Betye Saar,
titled The Liberation of Aunt Jemima, was created in 1972
and depicts a
series of "mammy" images, derogatory images of Black
women, but
reimagined as empowered and powerful. I plan to focus my com
parison on

how each of these works of art depicts and represents the "mam
my" figure in
two different time periods and with two different meanings. Fur
thermore, I
will consider how the artworks depict the harmful stereotype
that African
American women are "natural" domestic workers, a belief
that still
marginalizes the labor of African American women today.
Note that she concludes her introduction with the main point of
her essay — which connects the
selected artworks to the corresponding theme from the Compara
tive Suggestion List. If you find
that the direction and main point of your essay starts to change,
especially after you've worked on
your comparison and contrast paragraphs, simply return to
your introduction to adjust it
accordingly.
Context
Next, she provides historical and biographical context that will
prepare the reader for the compare
and contrast analysis portion of the essay. The purpose of
this paragraph is to explain the
relationship between each artwork and the culture in
which it was produced, as well as to
determine how those cultures influenced the selected works:

Note that she includes in-text citations (in MLA format)
from credible sources to substantiate the
contextual information. The writer draws both from the MindEd
ge eLearning material and from the Jim
Crow Museum website, which includes information written by a
professor named Dr. David Pilgrim.
The writer will then draft a similar paragraph on Saar's
Aunt Jemima, providing context for
Postmodern art, which will set up the contrasts between the two
paintings to be explored in the
body of her essay.
It would also be appropriate to include biographical information
on each artist, but since the artist
is unknown, the writer opted to focus on the historical context f
or Romantic art and the "mammy"
figure. In her context paragraph for Aunt Jemima, she will addr
ess Saar's biography.
Robert, Calvin, Martha, and William Scott and Mila was
painted
during the Romantic period in the United States, not long before
the start of
the Civil War. Artwork during the Romantic period
emphasized "passion,
emotion, natural beauty, and exotic settings and subjects"
(MindEdge).
Romantic period paintings use bright colors and strong
color contrasts to
depict emotion and "natural feeling" (MindEdge). In Mila, we c

an see how
the painter used color contrast to highlight the differences betw
een the white
children and their slave nanny, Mila. The painter also uses bold,
vivid color
for the children and soft, cool colors for the natural
landscape that is the
backdrop for the children and Mila. Mila's role as a "mammy" fi
gure is clear,
here. The "mammy" figure, according to Dr. David
Pilgrim, "served the
political, social, and economic interests of mainstream white A
merica" by
suggesting a "mammy" is happy and content with her role as a sl
ave. Mila, in
this painting, represents the assumed feelings of happiness and s
ubservience.
While we know this assumption about slave women is not true, i
t's important
to understand that the painter wanted to depict this very commo
n thought in
mainstream 19th century America.

Organizing: Comparison and Contrast Paragraphs
Your final project, and Milestone Two that leads up to it, asks y
ou to compare and contrast two works
of art and to draw significance from this process.
To compare simply means to note the similarities between two t
hings. To contrast simply means to note
the differences between two things.
Helpful tools for organizing your ideas in a comparison and con
trast include listing, Venn diagrams,
and outlining.
Listing and Venn Diagrams
Start first by simply listing the similarities and differences betw
een the two works of art. From there,
organize the lists using a Venn diagram. A Venn diagram presen
ts two circles that overlap partially with
one another. One circle represents one work of art and the other
circle represents the other work of art.
What the works have in common are listed in the area where the
circles overlap. Their differences are
listed in the non-overlapping parts of the circles. This kind of vi
sual organizer will help you quickly
organize your thoughts and prepare to write the comparison and
contrast section of your essay.
For example:
In this example, the writer
uses the Venn diagram to
see where the two works of
art are similar and where
they are different. This will

build the foundation for her
main point as to what is
significant about these
similarities and differences.
Outlining
There are a couple of ways to write an organized comparison an
d contrast essay. You can choose either
point-by-point or topic-by-topic. In a point-by-point comparison
and contrast essay, you organize your
essays by points you want to make about each work of art side-b
y-side. In a topic-by-topic comparison
and contrast essay, you will organize your essay into one sectio
n on comparisons and one sections on
contrasts.
For example:
After you've listed and organized your ideas about both works o
f art, you'll want to start analyzing what
larger point you want to make about how the works of art compa
re and contrast. This will impact how
you structure your essay. Is it most important to make an argum
ent about how the works of art are
dissimilar, which helps us better understand the significance of
these differences? Alternately, is it most
important to make an argument about how the works are
similar and the significance of their
similarities? Clarifying these questions will help you revisit you
r main point in the essay and make sure
it is still accurately represented in your introductory paragraph
and throughout your essay.

Drafting: Comparison and Contrast Paragraphs
Once you have organized your ideas around how the two works
of art compare and contrast, and what significant meaning you
can draw from this process, it's time to start drafting
your
comparison and contrast paragraph.
Be sure to choose either a point-by-point or topic-by-topic
organizational strategy. It is not right or wrong to choose one o
ver
the other, but you will want to stay consistent with
whichever
organizational pattern you choose.
The comparison and contrast paragraphs will include a combinat
ion of:
descriptions of what you see in each work of art
analysis of significant aspects of each work of art
any relevant contextual
information that helps your reader better understand the signific
ance of
your analysis
outside sources that help substantiate the points you are making
(if applicable)
For example, let's look again at the writer whose work on the tw
o "mammy" figure artworks we've
been following. As you can see below, her paragraphs follow a
point-by-point organizational pattern,
meaning she writes a paragraph for each way the artworks contr
ast: composition (color and lines) and
symbolism. Note that these sample paragraphs are focused on co

ntrast. She will also write a paragraph
on how these works are similar in subject matter, using
similar principles as are shown here, as
required by the rubric for Milestone Two and the Final Project.
In the Mila painting, Mila is shown to be softly smiling, resting
on the
ground at a lower level
than the children around her. The way she is painted
represents what Dr. Pilgrim notes as "loyal servitude" to a syste
m that enslaves
her. The skyline of New Orleans, a Southern city where slaves
were prominent,
sits in the background, alongside a slave cabin that's placed righ
t behind Mila's
head. These symbols of a Southern, slave-holding city and
a slave cabin
alongside Mila's soft smile suggest she is happy with her
station in life. In
contrast, Aunt Jemima's "mammy" figures are fighting
against what Mila
represents. There is a "mammy" figure on a postcard in
the middle of the
assemblage piece whose apron has been replaced by a
large, closed fist, a
symbol of the Black Power movement. Behind that is a "mammy

" figurine who
is holding both a broom and a rifle. She stands on a bed of cotto
n, a symbol of
slavery. The closed fist and rifle symbolize her rebellion against
slavery and the
racist stereotypes of the "mammy," especially the assumption th
at a slave woman
is happy with her station in life. Through an analysis of these sy
mbols, the intent
behind portraying African American women is very different in
these two works
of art.
In the Mila painting, Mila is painted in subdued colors of black,
brown,
and a little white. She almost blends into the trees and clouds th
at surround her.
In contrast, the white children she cares for are painted
in vibrant, explosive
colors. This difference in color choices emphasizes the children
over Mila. In
Aunt Jemima,
the assemblage piece is full of primary colors, mostly red. Red
symbolizes anger and danger. The "mammy" figures here are an
gered by their

representation and find the representation dangerous. There
is danger in their
role as slave women.
Citing sources and avoiding plagiarism
When using outside sources to help you articulate a point about
a work of art or context surrounding a
work of art, it is extremely important to give credit to that sourc
e. Providing quotation marks when
using someone else's writing word-for-word and an in-text
citation are both crucial to avoiding
plagiarism. Equally important is providing in-text citations whe
n paraphrasing someone else's ideas,
even if those ideas are expressed in your own words.
Provide an MLA-formatted in-text citation for any outside sourc
e whose ideas you reference or whose
words you quote. For every source you cite in your essay, be sur
e to have a corresponding reference
citation on an MLA-formatted Works Cited page. This page will
be placed on its own page, after the
last page of your essay.
The lines in both works of art also provide a larger meaning. In
Mila, all
of the lines in the painting are curved and circular. Since
a "mammy" was
supposed to be content with her station in life, this connection i
s portrayed as

"natural." In Aunt Jemima, Saar fights back against this notion
portrayed in Mila.
The straight lines in the assemblage piece—
the frame of the shadow box and the
edge of the illustrated card in the center—
suggest that this stereotype of African
American women boxes them in. The diagonal lines in the piece
are created by
the broom and the rifle, making them stand out.
Insert surname here 1
First Name, Last Name
Course Title:
Professor/Tutor:
Date of Submission
Art of revolution
The picture pasted above is known as revolutionary horrors: The
Death of Sardanapalus painted by one Eugene Delacroix
It depicts a story of an Assyrian king actually, the last king of
Nineveh, a city that existed in between the Mediterranean Sea
and the Caspian Sea, whose lifestyle ended tragically as it
resulted in rebellion of his people. To protect himself from the
rebellion which would have overthrown him he ordered the
demolition and burning of his palace, servants, concubines,
animals, and all other prized possessions. Though, during his
reign he had outlawed violence and war, he had replaced it with

an outrageous and reckless lifestyles and pleasures consisting of
orgies and indulgence of masochistic and sadistic fantasies.
This picture clearly reveals and demonstrates emotion, tone and
mood of war and strife.
The tone displays in detail utter confusion, despair, disorder
and hostility as seen by the huge numbers of corpses in the
picture from the effect of the rebellion and the acts of the king.
This is as a result of the artist’s brush strokes, combination of
shouting colours and use of intense lighting.
The mood splayed above is one of despair and release of intense
negative emotions that had being bottled up for so long. Feeling
of frustration and discontent are revealed through the actions of
the people killing each other without mercy or shame. Feeling
of anger and fury are seen in the intensity at which the people in
the picture strive and manage to kill and instil suffering in each
other like enemies and rivalries.
Upon analysing this picture one can come into the conclusion
that people were angry with the way affairs were been run in
that kingdom. It was time to take the law into their hands as it
was not protecting them from the abuse of power by the king. It
was necessary even that the king be ousted and the only way
that would have been achieved is by war. Clearly the king was
responsible for the build up of frustration and hostility in the
people despite his policy of ‘peace ‘and pleasure due to his
reckless lifestyle.
Works cited
Doy, Guinevere, and Paul Joannides. "The Death of
Sardanapalus." The Burlington Magazine 118.884 (1976): 773-
775.
Farwell, Beatrice. "Sources for Delacroix's Death of
Sardanapalus." The Art Bulletin 40.1 (1958): 66-71.
Wexner, Lois B. "The degree to which colors (hues) are
associated with mood-tones." Journal of applied psychology
38.6 (1954): 432.
Dewey, John. Art as experience. Penguin, 2005.

Insert surname here
1
Course Title:
Professor/Tutor:
Date of Submission
Art of revolution
Death of Sardanapalus
painted by one Eugene Delacroix
I
t depicts a story of an Assyrian king
actually, the last king of Nineveh, a city that
existed in
between the Mediterranean Sea and the Caspian Sea,
whose lifestyle ended

tragically
as it
resulted in
rebellion of his people.
To protect himself
from
the rebellion which
would
have
overthrown
him
he ordered
the
demolition
and
burning
of his palace, servants, concubines,
animals,
and
all
other prized possessions
.

Though, during his reign
he had outlawed violence
and war,
he had replaced it
with
an
outrageous and reckless lifestyles and pleasur
es
consisting of orgies and indulgence of masochistic and sadistic
fantasies.
The tone displays in detail utter confusion
, despair,
disorder
and hostility
as seen by
the huge
numbers of corpses in the
picture from
the effect of the rebellion and the acts of the
king.
This
is as a
result

of the artist’s brush
strokes,
combination
of shouting
colours and use of
intense lighting.
Insert surname here 1
Course Title:
Professor/Tutor:
Date of Submission
Art of revolution
Death of Sardanapalus
painted by one Eugene Delacroix
It depicts a story of an Assyrian king actually, the last king of
Nineveh, a city that existed in
between the Mediterranean Sea and the Caspian Sea, whose
lifestyle ended tragically as it
resulted in rebellion of his people. To protect himself from the
rebellion which would have
overthrown him he ordered the demolition and burning of his
palace, servants, concubines,
animals, and all other prized possessions. Though, during his
reign he had outlawed violence
and war, he had replaced it with an outrageous and reckless
lifestyles and pleasures
consisting of orgies and indulgence of masochistic and sadistic
fantasies.

The tone displays in detail utter confusion, despair, disorder
and hostility as seen by the huge
numbers of corpses in the picture from the effect of the
rebellion and the acts of the king.
This is as a result of the artist’s brush strokes, combination of
shouting colours and use of
intense lighting.

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