1 Ex 1.aReading activity: Baroque Art (Pearson resources and

Progetto in rete Reading Circles for CLIL –History of Art Liceo Artistico “M.Preti-­‐A. Frangipane”-­‐ Reggio Calabria-­‐ 2015-­‐2016 Prof. Roberta Filardi Name:__________________________________________________________________________________________________________ Researching resources about Baroque Art and Gian Lorenzo Bernini (working in groups) Ex 1.aReading activity: Baroque Art (Pearson resources and online resources) (work in pairs) Ex 1.b First watch the video, listen to the description and read the transcript of Baroque art. Then: Baroque Art Quiz (Answer the questions individually, compare in groups and check the answers online) https://www.khanacademy.org/humanities/monarchy-­‐enlightenment/baroque-­‐art1/beginners-­‐guide-­‐
baroque1/e/a-­‐beginner-­‐s-­‐guide-­‐to-­‐the-­‐baroque Ex. 2 Read the following definitions and then answer the questions below: (work individually and then in pairs) 1.
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Carving is the process of bringing stone (especially marble), wood, ivory or any other material to a desired shape by cutting or chipping away parts. Sculpture, in which the figures emerge from background at less than half of their natural volume is called low –relief. High relief is a sculpture, in which more than half the figure emerges from the background. A sculpture that stands completely away from its background is said to be in full round. Modelling allows artists to subtract or add material. It is highly flexible and widely used. Hand modelling in wax, papier-­‐maché or clay has remained the same even if the firing of the clay from simple terra-­‐ cotta to elaborated glazed ceramics has varied over time. Bronze casting dates back to antiquity. The Greeks and Chinese mastered the lost-­‐wax process which was revived during the Renaissance and practised until now. The casting of metals requires special skill. The two principal methods are the sand mould process and the lost-­‐wax process. (adapetd from Art Around us, pp.58-­‐59) To chip away= scheggiare/ lost-­‐ wax= cera persa/papier-­‐maché= carta pesta/clay= argilla a. Look at the images below: which materials and techniques are used for the statues A -­‐ B -­‐ C? A: bronze casting, full-­‐round sculpture B: marble carving, full-­‐round sculpture C: marble carving, full-­‐round sculpture b. Modelling allows the artist to: subtract or add material in order to make a desired shape c. Carving is: the process of bringing stone (especially marble), wood, ivory or any other material to a desired shape by cutting or chipping away parts. d. Low relief is: sculpture, in which the figures emerge from background at less than half of their natural volume e. Full round sculpture is: a sculpture that stands completely away from its background f. High relief is: a sculpture, in which more than half the figure emerges from the background 1 Progetto in rete Reading Circles for CLIL –History of Art Liceo Artistico “M.Preti-­‐A. Frangipane”-­‐ Reggio Calabria-­‐ 2015-­‐2016 Prof. Roberta Filardi Ex. 3Look at the images below and with a blue pencil draw a line from the head of each figure to its feet; then choose what kind of linear scheme the artists used for their composition (work individually and then in pairs) a. Vertical line: Statue C b. Slightly curved line: Statue A c. Right horizontal line: ……………………………………………………………… d. Curved diagonal line: Statue B A. Donatello B. Bernini C. Michelangelo a. Which sculpture is more dynamic? Statue B b. Look at the three statues again. Which one can you relate to the baroque paintings in the use of light and shadow (chiaroscuro) to emphasize the drama as Caravaggio did? Statue B Chiaroscuro= the way light and shade are shown; the contrast between light and shade 2 Progetto in rete Reading Circles for CLIL –History of Art Liceo Artistico “M.Preti-­‐A. Frangipane”-­‐ Reggio Calabria-­‐ 2015-­‐2016 Prof. Roberta Filardi Ex 4. Look at the “Doryphoros” statue created by Polykleitos (V b. C) where you can see the contrapposto; then with a red pencil draw a line through the shoulders and the pelvis of the statues above (A-­‐B-­‐C) and answer the following questions (work individually and then in pairs) contrapposto (“Ponderatio") An asymmetrical pose in which the one part of the body is counterbalanced by another, about the body's central axis. Ancient Greek sculptors developed contrapposto by creating figures who stand with their weight on one leg, the movement of the hips to one side being balanced by a counter movement of the torso. Contrapposto was revived during the Renaissance and frequently used by many artists, who developed a greater range of contrapposto poses. http://www.wga.hu/index1.html
a. Do the statues convey the contrapposto like Doryphoros does? Statue A YES/NO Statue B YES/NO Statue C YES/NO b.In which do you find a violent contrapposto? The statue: A?.... B? Statue B C?.... 3 Progetto in rete Reading Circles for CLIL –History of Art Liceo Artistico “M.Preti-­‐A. Frangipane”-­‐ Reggio Calabria-­‐ 2015-­‐2016 Prof. Roberta Filardi First read the instructions of Exercise 5 and 6. Then do these exercises(*)
Ex 5. Circle the correct word to complete the following questions and then write the correct answers (see ex. 6). There are two extras answers that you don’t need. (work individually and then in pairs) Questions 1. What are the statues called /named? 2. Is it true/Is true that the statues show the same subject? 3. Are there any /some classical characteristics in these artworks? 4. Is the statue made by Bernini different from/different by the other two? Answers (see Exercise 6) David, the hero in biblical history Yes, all the statues show the same subject. Yes, all the statues recall classical features, but Bernini’s David is more realistic Yes, because Bernini shows the hero who is throwing a stone from a slingshot against his enemy; Donatello presents the hero after the fight and Michelangelo before the fight (*) See: Teresa Ting, CLIL Materials and Methods, Università della Calabria, 2015, pp. 28-30.
(Haptic exercise) Ex. 6. Now write the correct answers, next to the questions above. (There are two extra that you don’t need). a. Yes, all the statues show the same subject. b. David, the hero in biblical history c. Yes, all the statues recall classical features, but Bernini’s David is more realistic Hercules, the mythological hero d. Yes, because Bernini shows the hero who is throwing a stone from a slingshot* against his enemy; Donatello presents the hero after the fight and Michelangelo before the fight e. No, there aren’t any classical features * slingshot= a tool used by David (=a stick shaped like Y with a flexible band or rope attached to it for shooting stones) 4 Progetto in rete Reading Circles for CLIL –History of Art Liceo Artistico “M.Preti-­‐A. Frangipane”-­‐ Reggio Calabria-­‐ 2015-­‐2016 Prof. Roberta Filardi Ex. 7.a Match and complete these sentences referring to Bernini‘s David: (work individually and then in pairs) 1 Who was i) the David made by Bernini show? 2 Which posture ii) the statue tell? does 3 What story does iii) the patron of Bernini’s David? 4 How many… iv) the statue housed? 5 When was v) meanings does the subject of David represent? 6 Where is vi) the statue made? A. David represents “virtus” and intelligence, peculiar to Florentine people (for Donatello and Michelangelo); the triumph of the Roman church against Protestantism (for Bernini) B. Bernini’s David was commissioned by Cardinal Scipione Borghese for his residence C. Bernini’s David moves out of its space and interacts with the viewer's space. His torso is twisted producing a spiralling posture of his body D. The statue tells the biblical history of young David who beat his enemy, the giant Goliath E. It is housed at the Borghese Gallery in Rome (Italy) F. Bernini’s David was made in 1623-­‐24 “Virtus” is a Latin word= moral strength Patron= sponsor or benefactor of artists Ex. 7.b Put the above sentences (A-­‐B-­‐C-­‐D-­‐E-­‐F) in the correct order and re-­‐write them in the following boxes. 1-­‐iii Bernini’s David was commissioned by Cardinal Scipione Borghese for his residence 2-­‐i Bernini’s David moves out of its space and interacts with the viewer's space. His torso is twisted producing a spiralling posture of his body 3-­‐ii The statue tells the biblical history of young David who beat his enemy, the giant Goliath 4-­‐v David represents “virtus” and intelligence, peculiar to Florentine people (for Donatello and Michelangelo); the triumph of the Roman church against Protestantism (for Bernini) 5-­‐vi Bernini’s David was made in 1623-­‐24 6-­‐iv It is housed at the Borghese Gallery in Rome (Italy) 5 Progetto in rete Reading Circles for CLIL –History of Art Liceo Artistico “M.Preti-­‐A. Frangipane”-­‐ Reggio Calabria-­‐ 2015-­‐2016 Prof. Roberta Filardi Ex. 8 Choose the correct expression, referring to each of the three figures (proud and relaxed? –concentrated and tense?-­‐ determined and concentrated?) and say why (work individually and then in pairs) A proud and relaxed B determined and concentrated C concentrated and tense They show a different expression because Bernini presents the hero during the action, his David is throwing a stone against his enemy; Donatello presents the hero after the fight and Michelangelo before the fight Ex. 9. First watch the video, listen to the description and read the transcript of David by Bernini. Then: David Quiz (Answer the questions individually, compare in groups and check the answers online) https://www.khanacademy.org/humanities/monarchy-­‐enlightenment/baroque-­‐
art1/baroque-­‐italy/e/bernini-­‐s-­‐david-­‐quiz Ex. 10.a Complete this scheme. There are some suggestions below (work individually and then in pairs) Donatello's David c. 1501-­‐1504. Early R
enaissance High Renaissance Period: Bronze c
asting f
ull r
ound Marble full round Material and sculpture sculpture technique: Yes Yes Nude/naked? Yes Yes Contrapposto? after the fight before the fight Moment in history: Bargello Museum Academy Gallery Housed: (Florence) (Florence) Adolescent, proud and Fixed stare, Stylistic confident determination Characteristics: Static composition Static composition Perfect anatomy Ideal beauty Adapted from http://www.pbs.org/wnet/powerofart/ Date: c. 1440. Michelangelo's David Bernini’s David c.1643-­‐24 Baroque Marble full round sculpture Partially naked Yes Violent contrapposto during the action Borghese Gallery (Rome) Dramatic tension Bursting forth of energy Dynamic composition 6 Progetto in rete Reading Circles for CLIL –History of Art Liceo Artistico “M.Preti-­‐A. Frangipane”-­‐ Reggio Calabria-­‐ 2015-­‐2016 •
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Prof. Roberta Filardi High Renaissance Baroque After the fight Before the fight Dynamic composition Static composition Perfect anatomy Fixed stare, determination Bargello Museum (Florence) Adolescent, proud and confident Partially naked Naked Ideal beauty Bursting forth of energy (burst forth= emerge forcefully) Borghese Gallery (Rome) Dramatic tension Violent contrapposto Early Renaissance Academy Gallery of Florence Marble/ Bronze casting/ sculpture High relief /Full round sculpture / Low relief During the action Ex. 10. b Write a brief description of the David by Bernini The “David” created by Bernini is a full-­‐round sculpture in white marble and represents the hero in biblical history who beat the giant Goliath. The statue seems to move out of its space interacting with the viewer's space. The figure is represented with a violent contrapposto and a dynamic shape following the diagonal scheme of the composition. Bernini presents the hero while he is throwing a stone from a slingshot against his enemy; his torso is twisted producing a spiralling posture of his body. Also the facial expression, concentrated and tense, shows his strength during the action. Bernini used a sense of dynamism and energy in order to involve the viewer. According to many critics the statue could represent the triumph of the Roman church against Protestantism. Compared to the previous masterpieces by Donatello and Michelangelo, Bernini’s David seems more realistic and expressive, even though the perfect anatomy and muscles of the hero recall some classical and Renaissance features. The statue was commissioned by Cardinal Scipione Borghese for his residence, Villa Borghese in Rome, where it is still housed. 7