Date of publication: 2017-08-27 17:32
became an obsession. We find the traces of this throughout this still-life. He actually draws the contour with his brush, generally in a bluish grey. Naturally the curvature of this line is sharply contrasted with his parallel hatchings, and arrests the eye too much. He then returns upon it incessantly by repeated hatchings which gradually heap up round the contour to a great thickness. The contour is continually being lost and then recovered... [which] naturally lends a certain heaviness, almost clumsiness, to the effect but it ends by giving to the forms that impressive solidity and weight which we have noticed. 76
No Fear Shakespeare puts Shakespeare's language side-by-side with a facing-page translation into modern English—the kind of English people actually speak today.
When the eyes meet a particular picture for the first time, they are faced with the challenge of the new situation: they have to orient themselves, they have to find a structure that will lead the mind to the picture’s meaning. If the picture is representational, the first task is to understand the subject matter. But the subject matter is dependent on the form, the arrangement of the shapes and colors, which appears in its pure state in “abstract,” non-mimetic works. 87
The TPSP was originally developed as a pilot targeting grades, 9, 8, and exit level. Most materials have been revised to address Primary, Intermediate, Middle School, and High School/Exit grade levels, however, users may find occasional references to the pilot grades.
Like de Piles’s system, Roger Fry’s method of analysis breaks a work of art into component parts, but they are different ones. The key elements are (in Joshua Taylor’s explanation):
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All formal analysis identifies specific visual elements and discusses how they work together. If the goal of a writer is to explain how parts combine to create a whole, and what effect that whole has on the viewer, then this type of analysis is essential. It also can be used to define visual characteristics shared by a number of objects. When the similarities seem strong enough to set a group of objects apart from others, they can be said to define a style. Stylistic analysis can be applied to everything from works made during a single period by a single individual to a survey of objects made over centuries. All art historians use it.
Ann H. Mar, Alamo Heights High School, Texas—This course is taught at a public suburban high school where the teacher employs portfolio assessment and uses differentiated instruction to address varying linguistic needs for all students. Students engage with Spanish-speaking communities outside of the classroom throughout the course.
Then Fry turned to “the organization of the forms and the ordering of the volumes.” Three of the objects in the still-life are mentioned, but only as aspects of the composition.
The AP Spanish Language and Culture course engages students in an exploration of culture in both contemporary and historical contexts. The course develops students' awareness and appreciation of cultural products (., tools, books, music, laws, conventions, institutions) practices (patterns of social interactions within a culture) and perspectives (values, attitudes, and assumptions).
At first sight the volumes and contours declare themselves boldly to the eye. They are of a surprising simplicity, and are clearly apprehended. But the more one looks the more they elude any precise definition. The apparent continuity of the contour is illusory, for it changes in quality throughout each particle of its length. There is no uniformity in the tracing of the smallest curve.... We thus get at once the notion of extreme simplicity in the general result and of infinite variety in every part. It is this infinitely changing quality of the very stuff of painting which communicates so vivid a sense of life. In spite of the austerity of the forms, all is vibration and movement. 77
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