COMPARATIVE ANALYSIS

Part 1

Select ONE essay question to answer. Your essay should be about 5 paragraphs long (12 pt., double-spaced).
Make sure that your essay is a COMPARATIVE analysis. You may structure your analysis as you like. Your essay should include
some discussion of the historical contexts in which the works were made.
However, your essay MUST include a discussion of the formal aspects of the works.

A Paper (will have)
• Strong thesis that introduces the comparative analysis.
• Introductory paragraph that gives some broad discussion of the context of the works.
• Clear topic sentences that structure the analysis for each paragraph.
• Good, clear examples are discussed and contrasted.
• A strong conclusion that summarizes the analyses performed.
• Clearly written without glaring grammatical errors.
B Paper (may include)
• Good thesis that is comparative in nature, but a bit vague and general- thesis and introduction lack specificity.
• Little discussion of the works in the introductory paragraph.
• Topic sentences are correct, but overly broad, so they cannot adequately structure the analysis that follows.
• Some good analysis and comparison, but more concrete examples or specific evidence are needed to
strengthen the analysis.
C Paper
• A broad discussion of themes and ideas that bears no relationship to the analyses that we have done in
lecture.
• Telegraphic, to the point that there is minimal analysis.
• Unclear with many grammatical errors.

 

Part 2
Select ONE essay question to answer. Your essay should be about 5 paragraphs long (12 pt., double-spaced).

Question 1
Compare Paleotti’s theorization of images with Le Brun’s reading of Poussin’s Israelites. What makes a
painting worthy of praise? How should a viewer “read” a painting? Would Le Brun and Paleotti agree
about how to read a painting? In what ways?

 

Question 2
Compare Bellori’s reading of Annibale Carracci’s Hercules at the Crossroads with EITHER Le Brun’s 1672 attack on
color OR the defense of color presented by De Piles in 1673.
Explain the main theoretical points of both authors.
Consider any points of theoretical agreement or disagreement.
Speculate about how the second author (Le Brun or de Piles) would interpret Carracci’s Hercules.

 

Question 3
Rubens’ “On the Imitation of Statues” was published by the French writer Roger de Piles.
Bernini’s ideas about painting and sculpture were recorded by Chantelou during the
artist’s visit to France. From these texts, we can extract the artists’ theories of art. Both
Rubens and Bernini are interested in the relationship between painting and sculpture.
How do they describe that relationship? What is unique to painting? And to sculpture?
Are Rubens’ theory of painting and Bernini’s theory of sculpture compatible? Why or why
not?

 

Question 4
Compare Philippe de Champaigne’s reading of the coloristic aspects of a painting by Titian in the “Second
Conference” with Blanchard’s Defense of “Color.” Describe the two theoretical positions. Explain the
differences between their views.
How would they each interpret Annibale Carracci’s Assumption of the Virgin? What types of things would
they look at in the painting? Speculate about their analyses of Carracci’s work, highlighting similarities and
differences.

 

 

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