Essay Questions on artists and photographers (30 points each): Compare and contrast the following pairs of images. Name the artist/photographer and discuss the different approaches of the artists/photographers and the significance of these differences in style.
11. Name the two artists and comment on how you see their work in relation to the Romantic and Realist art movements. Next, address the different ways each artist portrays the idea of identity/individuality. Be sure to point out details in each painting to support your view of what they are revealing to viewers. Does this give us an idea about the different way each artist understood what it meant to talk about “identity”?
Left Artist: Jean Francois Millet “The Gleaners”
Right Artist: Gustave Courbet “A Burial At Ornans”
12. Name the two artists and discuss their different approaches to painting the landscape or environment. While each artist painted directly in front of their subjects, they had very different goals for what they were trying to capture and share with their audience. Citing specific examples in each painting, talk about how and what the painters, although having a similar process, are showing us in their paintings. What role do the different styles of painting add to how we understand each painting?
Left Artist: Claude Monet “La Gare Saint Lazare”
Right Artist: Vincent van Gogh “ The Starry Night”
13. Name the two photographers and discuss how each image offers a commentary on a dysfunctional quality of society of their time. Consider both the specific, concrete examples shown but also discuss a larger symbolic reading that can be applied to larger societal concerns at the time the photographs were taken.
Left Photographer: Raymond Depardon Manicomio, late 1970s-80s
Right Photographer: Robert Frank from The Americans
14. Read the following excerpt from Marcel Proust’s The Way by Swann’s and discuss in detail how this reveals Proust’s way of understanding his world? (10 points):
“And soon, mechanically, oppressed by the gloomy day and the prospect of a sad future, I carried to my lips a spoonful of the tea in which I had let soften a piece of madeleine. But at the very instant when the mouthful of tea mixed with cake-crumbs touched my palate, I quivered, attentive to the extraordinary thing that was happening in me. A delicious pleasure had invaded me, isolated me, without my having any notion as to its cause. […] And as soon as I had recognized the taste of the piece of madeleine dipped in lime-blossom tea that my aunt used to give me […], immediately the old grey house on the street came like a stage-set to attach itself to the little wing opening on to the garden that had been built for my parents behind it and with the house the town, from morning to night and in all weathers, the Square, where they sent me before lunch, the streets where I went to do errands, the paths we took if the weather was fine […] all of this which is assuming form and substance emerged, town and gardens alike, from my cup of tea.”
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