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Seventeenth-Century Art in Film HomeThis is a featured page

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The art and architecture of the seventeenth century have been featured in several films. Perhaps you saw Angels and Demons recently? Think about all of the churches Tom Hanks ran through. They were ALL constructed in the seventeenth century.

Why is seventeenth-century art so popular in film? It was a period of high drama--both in life and in art. The Catholic Counter Reformation, the expansion of European power into the Americas and Asia (and the exotic specimens explorers brought back to Europe), new scientific discoveries, inventions, wars, and a host of other factors made this an exciting time. The art and architecture was characterized by dramatic chiaroscuro, dynamic shapes, gruesome martyrs' images, bombastic architecture, and over-the-top ornamentation. In short, the seventeenth century makes a great backdrop for a film!

In this class wiki, we will examine the representation of art, artists, architecture, and other forms of visual culture in four recent films: Artemisia, Nightwatching, Girl with a Pearl Earring, and Vatel. We will explore the objects and monuments pictured in the films and study the ideas and philosophies of art articulated by the artists and patrons. Our goal is principally to use the films as points of entry into the works, but also to consider how the films took their own artistic license in representing this era and its works.

We will watch the films together, then, working in groups, we will research the questions posed about each film. Each of the four week units--one dedicated to each film--ends with group presentations of the information uncovered.

Oh, no! I hate group work!
Almost everyone hates group work. However, with very few exceptions, you will spend the rest of your life working in one kind of a group or another. Furthermore, teachers and professors agree that the work produced by groups is almost always better-researched, better-written, less prone to include plagiarized information, more closely aligned to the assignment instructions, and generally just stronger all around.

Your grade in this class will come from group work and individual work. If you feel uncomfortable about this, drop the class now while you can still get a refund!

There are many resources for working in groups. Here are a few links:
http://www.auburn.edu/~burnsma/tips.html
http://www.iamnext.com/academics/grouproject.html
http://www.utoledo.edu/centers/ctl/teaching_resources/tips/Tips_for_Successful_Group_Work.html

What questions will we answer for each film?
The questions will vary by film and will be determined by the issues each addresses. For the first two films, Dr. Donahue-Wallace will provide most of the questions. For the last two films, the class will provide most of the questions.

How will we answer the questions?
For the first two films, we will have the questions in hand while we watch the films. We will periodically stop the film to discuss major issues. Groups will also take notes on how the film presents the information. This information will be compared to and augmented by the research the groups will complete.

The assigned readings will also help to answer the questions. These readings, selected by Dr. Donahue-Wallace, will give you a foundation to be able to appreciate and understand the film. We will also have several lectures for each unit that help to contextualize the film, the era, and the art. Your notes from the lectures and in-class discussions will be important resources for answering the questions.

The groups will also develop additional readings to answer the questions. To make this easier, Dr. Donahue-Wallace has put many, many books on reserve at the library. You will also find relevant articles (available in paper or through academic online databases). DO NOT USE WEBSITES. PERIOD. Content suspected of being taken from websites will be run through Turnitin.com and the entire group will fail the unit regardless of who used the website information.

What will we do with the answers?
The answers will be formulated as essays and placed on a page here in the wiki. This means that each film will have up to 10 or more wiki pages linked to it. The groups will also present the answers in a presentation before the entire class during the last week of each film's unit.

The essay and the presentation will be graded using a rubric distributed in class. A portion of the grade will come from Dr. Donahue-Wallace, a portion from the other groups, and a portion from your own group. This is called 360-degree evaluation and it assesses how well you work with all constituencies, not just your "supervisor" (the professor).

Finally, the answers to the questions, the lecture notes, and information from the assigned readings will form the content of the final examination. It is therefore important that you pay attention not only to what your group does, but what everyone in the class produces.






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derekwhite Group 4: flowchart or outline for #2 1 Oct 7 2009, 11:00 AM EDT by Paigeme
Thread started: Oct 6 2009, 10:41 AM EDT  Watch
Address question: "Money is important in the film. How did economic factors affect Dutch 17th century art.?"
1st...-research on Calvinism and how its practice and beliefs create a middle class or upper-middle class
-did Calvinism lead the way for a capitalist society?
2nd...-How did the House of Orange come to power?
-Who were they and what effects did they have on the economy of Holland?
3rd...Who was newly able to buy and sell commodities? Why was this important?
-What commodities did the Dutch value? Where did these commodities come from?
4th...-What was the artists' role in this commodity driven society? What were artists commissioned by their patrons(with special emphasis on "The Nightwatch" painting and the militia-men depicted)? Also mention importance of guilds and their group paintings.
5th...Bring it all together and conclude with reasons this changed subject matter and who was depicted in 17th century art(new found pride in landscapes, commodities or objects of value in still-lifes, and upper middle class group portraiture).

If there is anything anyone wants to add or change let me know. Okay?
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mel0110 Thread for Group 9: Ideas and questions part 1 1 Sep 14 2009, 5:00 PM EDT by KBower
Thread started: Sep 10 2009, 1:16 PM EDT  Watch
The signifigance and popularity of self portraits in Italian 17th century art?
In my studies thus far I have drawn from reading and research the rise in self portraiture from the beginnings of the 15th century through the 17th to be a display of social status and economic wealth for patrons. The wealthy were the subject of most of the commissioned portraiture by famous artists; in which they displayed their wealth, religious fervor, and social standing through symbolic iconography. The portraits commissioned by patrons greatly differ from self portraits being created by the leading artists of this era. Looking at self portraits rendered by Velasquez and Titian it is clear that the painters’ capture themse3lves eloquently dressed with all the trappings of nobility and profession either in the act of painting with all the finest implements or posed with iconographical images embodying him as a great artist. Thus we are faced with the portraits created by Artemisia Gentileschi in which she renders herself in the act of working and in her natural state as an artists. Previous to this particular portrait women were rendered as allegorical figures in art and were attributed to the fine arts in the guise of muses; upholding Greco and roman tradition of “personifying the arts” (Garrard 97). Portraiture done by female artist’s pre dating Gentileschi seems to be plagues by religious iconography or in the female artist is accompanied by another male.
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mel0110 part 2 0 Sep 10 2009, 1:16 PM EDT by mel0110
Thread started: Sep 10 2009, 1:16 PM EDT  Watch
In looking at 16th century female artists the term virtuosa was coined by Vasari “a talented, attractive, and properly behaved woman” (Jacobs 159), this notion of virtuosa plays in to the male misogyny surrounding female artists. Female artists were to be first and foremost beautiful and secondly respectable and godly women. This leads the researcher to believe and question that before Gentileschi the field of female portraiture was limited to the allegorical personification of the arts and display of religious piousness. Gentileschi refutes all these stigmas by painting herself in the act of working in her place of work. We do not see what she is creating but are drawn to the intellectual aspects of the woman painter; as she embodies the female and the arts.
These are my initial thoughts. I am wondering and an planning on looking further in to Gentileschi’s other portraits of women. Were they all of her? If not what was their nature? Allegory? If anyone has any good information on this let me know!!! I am also planning on comparing one of Velazquez’s/Titian’s work to Gentileschi’s.
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