Analyze and the style and the iconography of the Ghirlandaio painting

Analyze and the style and the iconography of the Ghirlandaio pain" rel="nofollow">intin" rel="nofollow">ing Order Description [mention: five pages on Analyze the style and five pages on the iconography separately Thanks! And you can choose a pain" rel="nofollow">intin" rel="nofollow">ing on the list from this artist by yourself. But must on the list. And write more about your personal opin" rel="nofollow">inions. Would prefer not use low frequency words English is not my first language. Please use Chicago Manual of Style Citation which has a guide attached. If you need more time, you could give me the first five pages of analyzin" rel="nofollow">ing the style in" rel="nofollow">in five days. And give the rest before April 20. Thank you very much!] ANALYTICAL/RESEARCH PAPER ITALIAN RENAISSANCE ART Sprin" rel="nofollow">ing 2017 This course requires a min" rel="nofollow">inimum 10-page research/analytical paper, which will be submitted in" rel="nofollow">in two halves, each at least 5 pagesin" rel="nofollow">in length. The first half will be a stylistic analysis and the second half an iconographic analysis of a pain" rel="nofollow">intin" rel="nofollow">ing by Domenico Ghirlandaio. You should select one work from the followin" rel="nofollow">ing list (all images of these works are on the Blackboard page under Paper in" rel="nofollow">information folder, under Syllabus, Handouts and Assignments tab), which will be the subject of both the stylistic and iconographic sections of the paper. Early works (1470s): ?Baptism of Christ, San Donnin" rel="nofollow">ino, Sant' Andrea a Brozzi, c. 1470 ?Last Supper, Passignano, Badia, Refectory, 1476 (do not confuse with other Last Suppers by Ghirlandaio in" rel="nofollow">in other locations) ? San Giusto Altarpiece (Virgin" rel="nofollow">in and Child with Sts. Michael, Justus, Zenobius and Raphael), Florence, Uffizi, c. 1479 Mature works (1480s): ?Feast of Herod, Florence, Santa Maria Novella, Cappella Maggiore, 1480s ? Birth of the Virgin" rel="nofollow">in, Florence, Santa Maria Novella, Cappella Maggiore, 1480s ? Adoration of the Magi, Florence, Museo dello Spedale degli Innocenti, 1488 (Note: you may fin" rel="nofollow">ind variations in" rel="nofollow">in datin" rel="nofollow">ing and you can adjust the dates listed here based on your research.) Citation of sources: Sin" rel="nofollow">ince I would like the work to be all in" rel="nofollow">in your own words, direct quotations from other scholars will NOT be allowed anywhere in" rel="nofollow">in this paper. However, even without direct quotations, any ideas you take from these sources (in" rel="nofollow">includin" rel="nofollow">ing Internet sources) and use in" rel="nofollow">in your paper must be cited in" rel="nofollow">in endnotes, usin" rel="nofollow">ing the attached Chicago Manual style sheet. Papers not followin" rel="nofollow">ing the style sheet or lackin" rel="nofollow">ing needed endnotes will not be graded until those items are corrected. Ghirlandaio paper: Stylistic Analysis Section Due Thursday, April 6 Write a 5-6 page (typed, double-spaced) paper – 6-7 for graduate and honors students – in" rel="nofollow">in which you analyze the style of the Ghirlandaio pain" rel="nofollow">intin" rel="nofollow">ing you have selected. Your stylistic analysis should do these two tasks in" rel="nofollow">in the order specified, devotin" rel="nofollow">ing about half the pages to each task: 1) fully explain" rel="nofollow">in, givin" rel="nofollow">ing specific visual evidence in" rel="nofollow">in support of your poin" rel="nofollow">ints, how Ghirlandaio's style here exemplifies early Renaissance features. Here you must cite (and discuss in" rel="nofollow">in specific detail) several specific works by other Italian Renaissance artists that demonstrate the same or similar stylistic features. Note that a stronger analysis will: -- start in" rel="nofollow">in the first sentence with a thesis summin" rel="nofollow">ing up the main" rel="nofollow">in poin" rel="nofollow">int about how Ghirlandaio's style exemplifies early Renaissance features (not with a sentence like: "Ghirlandaio was a major Renaissance artist who created works of great beauty"; or "The Renaissance was a time when there were great advances in" rel="nofollow">in art.") -- demonstrate how Ghirlandaio's style relates to later Quattrocento style, rather than to Quattrocento style more generally -- give detailed and specific stylistic analysis in" rel="nofollow">in support of the claims made in" rel="nofollow">in the paper -- address any specific stylistic sources on which Ghirlandaio draws for this work (in" rel="nofollow">in other words, specific artists and/or specific art works that in" rel="nofollow">influenced the specific pain" rel="nofollow">intin" rel="nofollow">ing you are studyin" rel="nofollow">ing) 2) fully explain" rel="nofollow">in how your pain" rel="nofollow">intin" rel="nofollow">ing exemplifies stylistic characteristics of either his early or mature phase (dependin" rel="nofollow">ing on which work you chose). In doin" rel="nofollow">ing so, you must compare your work to at least one work by Ghirlandaio from the same phase of production (showin" rel="nofollow">ing how they are similar) and at least one work by Ghirlandaio from the other phase (showin" rel="nofollow">ing how they differ). Note that a stronger analysis here will: -- not just list differences and similarities, but adduce similarities and differences as part of an argument that brin" rel="nofollow">ings out Ghirlandaio's stylistic development -- select strong examples for the comparison, which brin" rel="nofollow">ing out the stylistic similarities and differences especially clearly Make sure your paper : ?is an analysis, not a description. Analysis means that you are directin" rel="nofollow">ing your poin" rel="nofollow">ints toward provin" rel="nofollow">ing a thesis – as opposed to just describin" rel="nofollow">ing what you see. ?sticks to style and does not get in" rel="nofollow">into iconography ?sticks to the tasks assigned and does not give "background" about Ghirlandaio or his technique or historical issues ?in" rel="nofollow">include scans or xeroxes of your work and all the works you compare your work to; please have figure numbers on these scans or xeroxes, which correlate to figure references in" rel="nofollow">in your paper Required research: -- article on Ghirlandaio from Grove Dictionary of Art -- monograph on Ghirlandaio by Jeanne K. Cadogan (on course reserve in" rel="nofollow">in Fin" rel="nofollow">ine Arts Library) -- 2 additional books on course reserve -- 2 relevant articles relatin" rel="nofollow">ing to the topic of this paper -- 1 additional book or article relevant to your topic (possibly through Interlibrary Loan) -- for honors and grad students: 2 additional references beyond those listed above Note that neglectin" rel="nofollow">ing key sources relevant to your paper will have a negative impact on your grade. Italian Renaissance Art Sprin" rel="nofollow">ing 2017 Ghirlandaio paper: Iconographic Section Due Thursday, April 27 Write a 5-6 page (typed, double-spaced) paper – 6-7 for graduate and honors students – in" rel="nofollow">in which you analyze the iconography of the Ghirlandaio pain" rel="nofollow">intin" rel="nofollow">ing you have selected (the same one you wrote your stylistic analysis on). Your iconographic analysis should do these two tasks in" rel="nofollow">in the order specified, devotin" rel="nofollow">ing about half the pages to each task: 1) explain" rel="nofollow">in the iconography of your pain" rel="nofollow">intin" rel="nofollow">ing, explain" rel="nofollow">inin" rel="nofollow">ing any symbolic or allegorical elements (if relevant), and assessin" rel="nofollow">ing Ghirlandaio's approach and in" rel="nofollow">interpretation of the subject matter. Consider how closely Ghirlandaio follows any written sources (e.g., the Bible and/or other religious literature, such as legends, apocryphal writin" rel="nofollow">ings and devotional literature, as relevant). Note that a stronger analysis ?will start with a thesis summin" rel="nofollow">ing up the Ghirlandaio's main" rel="nofollow">in approach to the subject matter. ?will not just narrate the story shown, but will drive a lin" rel="nofollow">ine of argument about Ghirlandaio's approach to the subject matter ?will keep focused on the pain" rel="nofollow">intin" rel="nofollow">ing you are studyin" rel="nofollow">ing 2) explain" rel="nofollow">in how Ghirlandaio's treatment of the subject matter compares to treatments of that same (or very similar) subject matter in" rel="nofollow">in Italian Renaissance art, considerin" rel="nofollow">ing earlier works of art or works done around the same time period (these can in" rel="nofollow">include other works by Ghirlandaio treatin" rel="nofollow">ing the same theme, if relevant to your work). In your analysis consider whether Ghirlandaio follows traditions of visual representations of that scene, tweaks them, or presents them in" rel="nofollow">in an entirely new way. Be sure to consider at least three other depictions of the scene. Note that a stronger analysis ? has a lin" rel="nofollow">ine of argument about whether Ghirlandaio has any special take on the subject matter or simply follows pictorial traditions ?provides solid and specific evidence for the lin" rel="nofollow">ine of argument presented Make sure your paper : ?is an analysis, not a description. Analysis means that you are directin" rel="nofollow">ing your poin" rel="nofollow">ints toward provin" rel="nofollow">ing a thesis – as opposed to just describin" rel="nofollow">ing what you see. ?sticks to iconography and does not get in" rel="nofollow">into style (unless stylistic issues support your iconographic claims) ?sticks to the tasks assigned and does not give "background" about Ghirlandaio or his technique or historical issues ?in" rel="nofollow">include scans or xeroxes of your work and all the works you compare your work to; please have figure numbers on these scans or xeroxes, which correlate to figure references in" rel="nofollow">in your paper Required research: In writin" rel="nofollow">ing this section of your paper you must supplement your bibliography from the stylistic analysis section of your paper with at least these sources: -- 1 iconographic dictionary (reference work), which discusses the theme of your pain" rel="nofollow">intin" rel="nofollow">ing -- 1 source (article or book) which treat the iconography of your pain" rel="nofollow">intin" rel="nofollow">ing -- honors and grad students are required to have one more additional source Chicago Manual of Style Citation Guide: Jacobs papers There can be differences within" rel="nofollow">in Chicago manual of style form, but this is the "house style" for Jacobs papers. If you do not use the house style your paper will be returned to you and not graded until the style is corrected (other parts of the paper cannot be corrected or changed durin" rel="nofollow">ing this time). Endnotes will be required for all papers, sin" rel="nofollow">ince proper citation of sources is absolutely necessary for all papers. I will in" rel="nofollow">inform you if a bibliography will be required as well. For your paper you should use endnotes, not footnotes. NO REFERENCES IN PARENTHESES ALLOWED. These should be in" rel="nofollow">indicated by Arabic numbers (not Roman numerals) and these should be superscript numbers. The format should be as follows: For a book: Name of author (first name first), title of book (place of publication: name of publisher, year of publication of book), page or pages where the in" rel="nofollow">information you cite comes from Lynn F. Jacobs, Openin" rel="nofollow">ing Doors: The Early Netherlandish Triptych Rein" rel="nofollow">interpreted (University Park: Penn State Press, 2012), 213-26. Note that the title of the book is in" rel="nofollow">in italics. Note that you must in" rel="nofollow">include page numbers where the specific in" rel="nofollow">information is to be found. For an article: Name of author (first name first), "Title of Article," Title of Journal volume number of journal (date of article): page or pages where the in" rel="nofollow">information you cite comes from. Lynn F. Jacobs, "The Triptychs of Hieronymus Bosch," Sixteenth Century Journal 31 (2000): 27. Note that the title of the journal is in" rel="nofollow">in italics and the title of the article is in" rel="nofollow">in quotation marks. Note that if you get an article from JSTOR, JSTOR is NEVER part of the reference. JSTOR provides name of journal, volume, date, etc. and this is what you should use. For an essay in" rel="nofollow">in a volume of essays: Name of author of essay (first name first), "Title of Essay," in" rel="nofollow">in Title of Book, ed. name of editor(s) (place of publication: name of press, date), page number C. Clifford Flanigan, "The Movin" rel="nofollow">ing Subject: Medieval Liturgical Processions in" rel="nofollow">in Semiotic and Cultural Perspective," in" rel="nofollow">in Movin" rel="nofollow">ing Subjects: Processional Performance in" rel="nofollow">in the Middle Ages and the Renaissance, ed. Kathleen Ashley and Wim Hüskin" rel="nofollow">in (Amsterdam: Rodopi, 2001), 39. Repeat citations: If you have several citations from the same source, you do not have to provide complete citations again" rel="nofollow">in. You should do as follows in" rel="nofollow">in these circumstances: 1) If you are repeatin" rel="nofollow">ing a citation from a source directly after the same citation, you can write: Ibid., 231. (note that the ibid means that the endnote directly above is the same book as that cited in" rel="nofollow">in this endnote). Note the period after Ibid. You can keep usin" rel="nofollow">ing Ibid if you have numerous citations from the same source one after another. 2) If you do not cite the same book or article immediately after one another, but you have already provided a full citation for the book or article the first time you cite it, you should use a short form citation: last name of author, short title of book or article, page number Jacobs, Openin" rel="nofollow">ing Doors, 267. Note that you have to have first cited the book fully and only use the short form for additional citations of the book (which do not directly follow each other, in" rel="nofollow">in which case you would use ibid).