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At P2PU, people work together to learn a particular topic by completing tasks, assessing individual and group work, and providing constructive feedback.

Activity Wall

    posted message: Hi Group! The Saylor Foundation has created a survey for this course and we'd love your feedback. For those of you who participated when the course ran live with the course facilitator, you can visit https://www.surveymonkey.com/s/P2PU-SaylorCourseSurvey to take the survey. Your responses are confidential and we'd really appreciate your thoughts. Many thanks!
    posted message: In response to Kevin and Sebastien: Thanks for your feedback on the course. Very helpful! Kevin, I wanted to let you know that I'll be available to continue to discuss with you through Wednesday, if you like. (I leave early Thursday for vacation.) Should any or all of you want to do as Sebastien suggested, however, by all means keep going or re-cover the material. In sum: I'll be available to wrap things up through Wednesday, but if you all want to do something more in depth, please feel free to take over and continue the discussion!
    posted message: Anyone want to keep going for a little longer? I find I had trouble keeping up with the suggested schedule, but I've already gotten a lot from what we've covered. Before this, I had never become very familiar with any area of art history. Would love to keep talking about some of this stuff for a couple more weeks, if anyone is interested?
    posted message: Hi group. I'm sorry nobody was able to chat with me today, but I wanted to say how much I've enjoyed facilitating this group. Some of you have made great contributions to the discussion and it's been a real pleasure! I hope you will (if you haven't already) take the final exam to get a sense of how well you've mastered the topics we've covered. And we can continue discussing over the weekend and into early next week if you like. Please follow up with any last-minute questions or comments and we can wrap things up. I'm more than happy to continue discussing with you all! Happy weekend, LL
    posted message: If you haven't yet, please read the essay Kevin was nice enough to share with the group. He makes some really excellent observations. I've added a comment and posed some questions, so take a look if you'd like to join the conversation. Since this is our last week please chime in and discuss anything relating to the material we've covered! I'd love to discuss in a live chat with you all. I'll be available at 6:00 (EST) tomorrow, August 5th. Please join me! I hope that some of the things you've learned about Baroque art are starting to come together more and more as you learn about what was going on in different places at different times. Note that there's another exciting museum visit to TWO museums in this final week! Enjoy!
    posted message: After a long wait, my essay comparing Caravaggio's Victorious Cupid with Raphael's portrayal of Mary, Jesus, John the Baptist, and a Holy Child - Caravaggio's Cupid as Victor represents the Roman god Cupid, the god of desire, affection, and erotic love. Painted in Rome in approximately 1601 for Vincenzo Giustinianni, the painting is now located at the Gemaldegalerie in Berlin, Germany. The painting, oil on canvas, is approximately 61 ½ inches long by 44 ½ inches wide. The work depicts a naked boy of about twelve with dark feathery wings. The boy is front and center. He has no pubic hair, but does have a curly mane of hair framing red cheeks. His head is tilted, and he appears to be laughing, a playful, almost mocking smile on his lips, teeth showing. In his right hand he holds two arrows, while his left arm is mostly hidden behind him. One foot is firmly planted on the floor while his other leg kneels against what looks like a bed or table with loose sheets or covers. The background is mostly dark, lightening somewhat to the center right as well as the area around the floor. The child's body is brightly illuminated. On the bed near the child's left leg appears to be a crown with a pole through it. On the floor are stringed instruments, along with a book filled with musical notation, a compass and square, body armor with leaves (perhaps laurel), a regular notebook with a quill, and some kind of globe with star-like objects painted on it. The body armor, though mostly dark, shines brightly from the shoulder-piece. The painting appears to be composed of clear lines. Curves are emphasized in the wings, musical instruments, globes, and the contours of the child's body. In contrast, the arrows and geometrical instruments are composed of straight lines. The child's pose puts him almost in the shape of an X by the splaying of the legs and the wings sprouting from the shoulders. A strong light source seems to flow from the upper left of the painting, creating a strong contrast between the brightness of the child's pinkish body and his darker surroundings. The effect, along with the placement of one leg on the floor with the other kneeling up on the bed/table, is almost to thrust the child out from the center of the picture. Chiaroscuro gives the child a sense of dimensionality and aliveness, almost playfulness. Aside from the brightly emphasized flesh of the child, shades of warm brown predominate, though in the lower left we see the shiny black of the armor. The child seems to be located more toward the right of the painting, leaving open space and the objects on the floor to the left. His leg on the table seems to throw the child a little off balance. Cupid stands happily above the objects representing music, math/science, literature, and war. His playful eroticism is victorious over all these principles. Raphael's Mary with the Child, John the Baptist, and a Holy Boy is self-explanatory in terms of subject matter. The holy boy appears to be a young saint according to Catholic tradition. Each figure carries a halo over the head. The painting was made in 1505, possibly in Florence, for the Dukes of Terranuova. This painting is also located at the Gemaldegalerie. As the painting is placed there, the viewer looks at it from straight ahead. It was painted in oil on poplar wood and is circular, approximately 34 inches in diameter. Centering the painting is a naked and haloed infant – the baby Jesus. He is all baby fat. He has curly blondish hair and is grasping one end of a narrow scroll with the word AGNIUS showing on it, perhaps referring to Agnus Dei (Lamb of God), a biblical metaphor for Christ. The child is turned to his right and looking at an older child (John the Baptist) with deeply contemplative eyes. Jesus sits on the lap of the Virgin Mary, who seems to frame the infant. She is in a red dress with a dark collar of intricately embroidered design. An M is embroidered into the middle of the collar. Her hair is light brown and covered with a sheer veil. Over her dress is a deep blue cloak, covering her left arm and the right side of her lap. The child lies diagonally across her from upper left of the painting toward lower right. Mary looks down at Jesus with a slight, approving smile and a loving, contemplative look to her eyes. On the lower left of the painting is the child John the Baptist. He looks up adoringly at the baby Jesus and grasps the other end of scroll that Jesus holds. His light brown-haired head is haloed, and he appears to be wearing an animal skin/fur. This is partly covered by a silky-looking pink wrap. He holds a thin, metallic cross. On the lower right is another child, younger than John but older than Jesus. He, too, has a halo and leans his arm on Mary's lap. His look is somewhat contemplative, but less adoring and more just observing, objective. They all appear to be sitting in a well-manicured brown yard. In the distant background, we see surrounding landscape. To Mary's right we see a distant walled town, with high towers, going up a green hill. In front of the town are trees/hedges. To the left of Mary in the far background is a more pastoral scene, with trees, green hills, and a rock outcropping. Above all this is a blue sky with widespread white clouds. The painting is characterized by clear, distinct lines. With the figures, curves are emphasized, particularly in the chubby bodies of the children. In the town in the background, straight lines and rectangles dominate. In contrast, the painting itself is in the shape of a circle. In addition, the immediate background looks like a circular yard. There is not much darkness seen in the painting, except in the deep brown of the encircling yard. The light source seems very diffuse, coming perhaps from the left and in front. The primary colors are bright and decorative. Most striking are the red and deep blue of Mary's clothes. The flesh-tones of the children are also emphasized. Secondary colors include a range of earth tones. The background, with its rising hills, rocks, and buildings in perspective, emphasizes the figures in front. The painting seems to capture a pose, with little movement suggested, except perhaps in the gentle movements of the infant Jesus. The figures are balanced in the foreground, with Mary framing the infant and a young child on each side. Mary and Jesus are most emphasized, almost as one unit. In comparing the Caravaggio painting with Raphael's work, the distinctions between the two stand out most. Caravaggio uses the distinctive Baroque tool of chiaroscuro to emphasize the figure of Cupid. One gets the sense that the child is beginning to come down from the painting. The contrast of light and dark plays a strong role, in contrast to Raphael's painting where bright and deep colors characterize the figures against a diffusely lighted pastoral background. The figures in each work are very different in their poses, their facial expressions, and their sense of movement. Cupid carries a roguish look on his face, full of life, delight, looking like he is ready to descend into our presence. There is no modesty to the naked child. He is real, as are his reactions. Raphael's figures, by contrast, are largely contemplative, expressing deep spiritual awareness. Idealized adoration and awareness of holiness is pictured. In addition, the world as we know it is merely a background to Mary, Jesus, and the saintly children. Their's is a different, separate world where holy perfection reigns. Caravaggio's Cupid, however, stands astride the world in the form of its music, art, literature, mathematics, and warfare. He is in our world, dominant, victorious. The great contrast, in general, between the two is Raphael's portrayal of dignified and solemnly holy figures versus the lively, playful, erotic Eros.
    posted message: Hi All! Just a reminder that I'll be on the chat site at 5:30 PM (EST) today, ready to talk about what we've covered so far, answer any questions, etc. Please join me if you're able; otherwise, feel free to set up a chat time that works for you! Hope to "see" you soon.
    posted message: Greetings group! I hope week three has been going well for you. Please chime in and share your thoughts on the material! I know some of you were still refining your museum responses from last week and we can continue to discuss that project if you like. But I wanted to post a question regarding the materials covered this week. How would you compare the Dutch art that has been introduced this week to the Flemish art we looked at last week? How (if at all) do the arts of Italy and Spain relate to what's going on in the North? I'd be interested to hear your thoughts on this or anything else! As for our weekly chat, Friday afternoons don't seem to be working, so I'll be available Monday (August 1st) at 5:30 EST. I hope some of you can join me!
    posted message: Hey all. I got a little slowed down with my essay. While I know we can keep it short, I am enjoying exploring the three-part methodology for analyzing a piece of art. Where I slow down - and want to know more - is on the Art Elements and Principles of Design (Part III). Any insights on how to analyze and address issues of line, shape, light, etc. or issues of unity vs. variety, balance, emphasis vs. subordination, etc? Any suggestions for resources that might be particularly helpful with these issues?
    posted message: For anyone interested in chatting with the rest of the group (who wasn't able to join me this afternoon), please feel free to set up an alternate chat time. And post any questions or comments on this wall! Have a nice weekend! LL
    posted message: If you're following the suggested schedule outlined in our tasks, you should be about midway through Week Two (Task 3). How are things going? Are there any questions? Concerns? How did you enjoy the Museum Visit? If you'd like to post a condensed version of your writing assignment on this wall, please do so! We can respond to one another here. Otherwise, let the group know your thoughts on the material covered thus far/this week! Also, I'll be available on the chat site from 4:00-5:00 (EST) tomorrow. For those of you are free, please join me and we can discuss live. For those of you who can't make it, please feel free to set up a chat time with the group that works better for you!
    posted message: Hi all and welcome to week two, when we'll be moving on and taking our first "visit" to a museum, doing a short writing assignment, and then moving on to look at art of the Netherlands. Please note that the writing assignment is simply for your own practice. (Note that on Saylor.org there is a "Guide to Responding" that will help you evaluate your work.) How is everyone progressing? Did you all make it through last week's materials? Unfortunately nobody was able to chat last Friday. I hope you all will arrange a time that works for you, if this continues to be a bad time. I'm available weekdays, and Friday makes the most sense, as by that point we'll have made it through most of the week's materials. Is anyone free Friday afternoon (EST)?
    posted message: We got some really great discussion going from Kim and Kevin yesterday in response to my question about Bernini. Some themes touched upon were the continuity between Baroque art and Renaissance art via Mannerism. This is an interesting way to look at how artistic traditions develop out of past traditions. Also, Kim posed the interesting comparison of Caravaggio and Bernini, which got me thinking about the very different public personae of these two men. (Bernini was a favorite of the Church and kept up with elite society, whereas Caravaggio is famous for rubbing shoulders with an "underworld.") So I'd like to pose Kim's question in light of the public personae of these men. Do you think their art relates to their public images? How so?
    posted message: Hi All & Happy Thursday! I wanted to follow up on the possibility of chats now that there's been some response from many of you. It looks like we might not all be able to agree on a time. (And for those of you who don't want to participate, that's fine too!) I am available weekdays and think it might make sense to do something on Friday afternoons. I will be available tomorrow at 4:00 (EST) using the p2pu chat function. I know this may not work for some of you, so please feel free to set up other times to chat with the group's participants, as works for you!
    posted message: Weekly Chats Just following up on the possibility of conducting weekly live chats for this group. Is this something that appeals to everyone? If not, this can be an optional feature for those who are interested. It has come to my attention that we can use the chat features on this site, which might make the most sense. Also, we could do a couple of chat times to accommodate differing schedules. Chime in, please!
    posted message: Hello, Participants! We're at mid-week now and I thought I'd throw out a general discussion question to you all to get the gears in motion. I'd love to hear your thoughts. And feel free to post your own questions & comments to get discussion moving! Question: What traits do the following sculptures by Bernini share: David, Pluto and Proserpina, and Apollo and Daphne? What would you say is quintessentially "Baroque" about these traits and why are they important?
    posted message: Hi all! I am a post-doc doing research in biology in Philadelphia (PA, USA). I am originally from Toulouse (France), but also lived in Paris (France) for five years. I have a wide range of interests and would like to keep learning in a variety of topics, including art. I acknowledge that art is a determinant part of human lives and that understanding art involves understanding the context in which it was produced - historical, personal, technical, etc. - hence my interest in this class.
    posted message: Hi, all! Hope the beginning of our first week is going well for everyone. I wanted to reply to Kevin's post and say that Skype works for me. What about the rest of the group? If need be, we can always set up a couple of different live chat times to accommodate the varying schedules of all of the participants. Let us know your thoughts!
    posted message: Hi All, As I'm a painter living in Australia I don't have access to large collections of Western Art, except via the internet. I've visited art museums in England, France, Spain and the Netherlands and looked at paintings but I don't have an academic background. My response to paintings as been emotional rather than educated. I'm intrigued by the idea of learning art history online and going on a virtual museum visit. I'm looking forward to working with the group, to develop the ability to think about and discuss art works.
    posted message: Hi Liz and fellow participants. Looking forward to some interesting discussions and insights. If it's workable given the varying locations and schedules of the participants (my work schedule runs Monday-Friday, 9-5 EST), I think a live chat would be great. I'd love to "meet" as many of you as possible. Skype is the forum I'm most familiar with, but I'm open to any way of doing it.