Bibliography
Moohan,Elaine (2008) The Arts Past and Present, Reputations, Milton Keynes, The Open University
Fear, T. (2008) ‘Cleopatra’ in Moohan, E. (ed.) Reputations (AA100 Book 1), Milton Keynes, The Open University, pp. 1 – 28.
Plutarch, Life of Antony, 29-30; reprinted in AA100 Assignment Booklet (October 2011), Milton Keynes, The Open University, p. 17.
Scott-Kilvert, I. (trans) (1965) Plutarch: makers of Rome, Harmondsworth, Penguin.
Inside Art, Online, Open University
Ilustration Illustration Book, Milton Keynes, The Open University
Bibliography
Cézanne, P. Jug and Fruit (Plate 1.3.24), in The Open University (2008), AA100 Illustration Book (Plates for Books 1 and 2), Milton Keynes, The Open University.
Harrison, C. (2008) ‘Cézanne’ in Moohan, E. (ed.) Reputations (AA100 Book 1), Milton Keynes, The Open University, pp. 55-84.
The Open University (2010) Inside Art, available from (Accessed 1 November 2011).
Zurbarán, F. Still Life with Lemons, Oranges and a Rose (Plate 1.3.30), in The Open University (2008), AA100 Illustration Book (Plates for Books 1 and 2), Milton Keynes, The Open University
Comments from PT3 Assessment Summary
Content
You made a number of good points about composition, scale, depth of picture space, brushwork and tonal range. However, your discussion of the artists' use of colour was a little confused and lacked detail (See comments 25, 29, 30 and 31 on assignment). In addition you needed to use more of the terms from the module materials (see comments 18, 20, 21 and 25)
Structure, style and expression
See comments about Part 1 as these apply to Part 2 also. In this part of the assignment, you had problems expressing your ideas clearly and your sentence structure was often disjointed (See Comments 18, 19, 20, 21, 27, and 23). This may have been due to difficulties with the terminology, noted above. Have a look again at Inside Art as I'm sure this will help. In addition, a couple of weeks ago I posted a very useful handout about analysing paintings to the tutor group forum. It can be found in the 'Q and A TMA01' discussion thread.
Presentation
See comments about Part 1,as these apply to Part 2 also. You need to reference the paintings correctly, and present a complete bibliography (see comments 15, 16, 17, 38 and 39).
1b. New Draft of Assignmnet AssignmentTMA01- Part B
Within this Essay I will outline what I think the main differences are between Plate 1.3.24 Cézannes Jug and Fruit (1885-1887) and Plate 1.3.30 Zurburans Still Life with Lemons, Orange and a Rose (1663.
The composition of Cézannes Jug and Fruit (Plate 1.3.24) and Zurbarans Still life with Lemons and Oranges and a Rose (Plate 1.3.30) ✓is important in establishing a sense of perspective in each painting✓. Cezanne has achieved a sense of depth by the use of scaling the fruit – the pieces of fruit are different sizes giving a 3 dimensional perspective to the picture. It almost looks like the pears to the front of the picture are rolling of the table and that one could grab one. Cezanne has also achieved a real sense of depth in this picture by his use of atmospheric perspective in the use of the blue colouring at the rear of the picture against the darker picture.
This contrasts with the composition of Zurburan’s’ painting as he has used a different tupe type of composition in that all the items within the painting are lined up horizontally and all scaled in the same way.✓ The way that Zurburan has grouped and aligned the objects gives a more organised fell to the painting, compared to the more rustic and relaxed look of Cézannes ‘painting which he has created by using the picture space differently. The Zurburans painting almost seems like a photo compared to Cézannes ‘painting which pulls you into the picture space and almost makes you feel that the picture is not actually there.
Both of these artists have used tone, colour and lighting in very different ways which evoked a different type of mood and atmosphere about the 2 twopaintings. Cézanne has used quite a narrow range of tonal colours ✓and within a limited pallet. His use of cool and unsaturated colours gives the picture a subdued and measured feel and is quite calming to look at. This compares quite strongly to the Zurburan picture in which he has used a wide tonal range with the brightness of the oranges and lemons✓ juxtaposed against the very black and dark background of the picture. This creates a very dramatic effect and intensifies the light and the colour and tone of the fruit. The 3 three-dimensional effect is produced well here with the lighting coming from the top left and creating shadows against the fruit. This enhances the “realness” of the picture and draws the viewer in.
Typical of Cézannes work and the impressionist era, Cezanne has used a painterly technique within this painting. ✓ The broad thickly and multi-directional brushwork that is obvious in the picture adds to the rustic atmosphere of the painting.✓ This compares to the much more traditional linear technique used within the Zurburan painting where although Oil was used again, the brushwork is much crisper and near and hardly noticeable giving a photo effect and adding to the dramatic feel of the painting. The linear technique used by but Zurburan shows the finer detail of the fruit which compares against the painterly technique used by Cezanne. ✓
WORD COUNT – 514 ✓
Bibliography✓
Cézanne, P. Jug and Fruit (Plate 1.3.24), in The Open University (2008), AA100 Illustration Book (Plates for Books 1 and 2), Milton Keynes, The Open University.
Harrison, C. (2008) ‘Cézanne’ in Moohan, E. (ed.) Reputations (AA100 Book 1), Milton Keynes, The Open University, pp. 55-84.
The Open University (2010) Inside Art, available from (Accessed 1 November 2011).
Zurbarán, F. Still Life with Lemons, Oranges and a Rose (Plate 1.3.30), in The Open University (2008), AA100 Illustration Book (Plates for Books 1 and 2), Milton Keynes, The Open University
Part 2 – Reflective Summary
On reflection, there were a number of aspects of my assignment to develop in line with my tutors comments. The most prominent feedback was with regard to the structure of the assignment as a whole and expressing my ideas unclearly ✓“ This was meant to be written in continuous prose, Sub headings are superfluous” ✓(Daniels, 2011b, p.16) “ You had problems expressing your ideas clearly, and your sentence structure was often disjointed (Daniels, (2011b)PT3 Comments) (Daniels, 2011b, p. 1). To improve my written work, I revisited both the Chapter within the book and the Inside Art programme on the OU Website, to familiarise myself further with the terminology and enable a clearer understanding on interpreting the artwork.✓ Having revisited the content aforementioned, I rewrote a number of the sentences of my assignment, replacing generic statements with more specific elements, using the correct terminology, eg: picture space, linear technique and ensuring I backed up any statements with evidence where required.✓ I feel that now my assignment reads more logically and shows my understanding of this chapter more effectively. ✓
For future Assignments, I would like to continue to improve my structure and flow of my writing and to do this, I have realised that I need to ensure that I am fully conversant with the subject matter✓. A lesson learnt for me from this assignment is that trying to rush through the chapter work and then subsequently the assignment results in a lack of coherence in my writing due to being unfamiliar with the topic and related terminology.✓
Word count – 250
Bibliography✓
Daniels, J. (2011b) PT3 Comments for Claire Dalton AA100 Assignment 01, unpublished work
Daniels, J. (2011b) Script Annotations for Claire Dalton AA100 Assignment 01, unpublished work
Reproduce the essay question here. If you amend it there is a danger you will go ‘off question’
This was meant to be written in continuous prose. Sub-headings are superfluous.
Page 5 of the assignment booklet asked you to reference the reproductions in the Illustration book like this.
This is a good observation, but it was expressed poorly. Have a look at my amendments. Make certain you use the terms ‘painting’ or ‘picture’ rather than ‘plate’ throughout the assignment
Painting rather than plate. Amend this throughout. Spell the artists’ names correctly – they both include vowels with accents: E.g. Cézanne and Zurbarán. Use possessive apostrophes throughout. E.g. Zurbarán’s
A good observation but expressed poorly. See my amendments and use these as a template to rework expression and punctuation throughout the assignment. In addition, try to use the terms introduced in the module material, such as horizontal.
Good. However, you are discussing the artists’ use of the picture space, so you need to use this term.
Poorly expressed. Rework.
These are cool colours. See the spectrum in Section 2 of Inside Art.
These nouns do not need to be in upper case.
Does it intensify the colour of the fruit or does it intensify the light and bright tone of the fruit?
Three dimensional. Write out in full
Your observations are good. However, I think you need to consider tonal range and colour range in more detail. For instance, Z’s objects are modelled in terms of light and shade (tonal contrast), whereas C’s are modelled by the use of colour and delineation.
Good point, but poorly expressed. Rework this
Here you are referring to other paintings in the module materials so you need to provide examples, and reference these
Yes, these two styles of brushwork have specific names. Have a look at Section 3 of Inside Art and include these two terms in your answer when you rework it for TMA02.
Good points, but poorly expressed. Needs to be reworked
This statement is too generalised. Explain the different ways in which their different techniques construct reality
The entries in the bibliography are not presented correctly, and are incomplete. See referencing in Study Companion pp 55-6 and Assignment booklet pp 3-8.l. I have provided the correct bibliographic entries for Book 1, Chapter 1, the passage for the Assignment Booklet and for Scott-Kilvert.
Have a look at the bibliography in blue below and use it as a template.
The names need a possessive apostrophe. Furthermore, you needed to include accents in both names.
It’s a shame you did not reproduce the assignment question here (as suggested in my original comments) as this was something very easy to rectify.
The names need a possessive apostrophe (as I used in my original amendments). Furthermore, you needed to include the accents.
Good. Reference presented correctly.
Good. You are using the term painting rather than plate.
Accent: Cézanne. See comments about this on original assignment
Accent? Possessive apostrophe placed before the ‘s’. See comments about this on the original assignment (Comment 5 above)
Be careful, this error was not in the original assignment.
Good. This is expressed more clearly.
Good. You have used the correct terminology.
Accent and possessive apostrophe?
Numbers written out in full.
Good. I’m glad you have reworked this and have looked at how colour and tone are differentiated in Inside Art. It would have been sufficient to say ‘narrow tonal range’ as tone is a separate from colour.
Good. You have corrected this.
You have amended this; however, perhaps you could have gone further here to point out precisely which element is enhanced (as suggested in my original comments)?
In full as suggested in my original comments.
Good. You have introduced the concept of painterly technique.
Accent? An error has crept in here.
Accent needed. Good. You have used appropriate terminology.
Good, you have amended this.
Good. You amended number of sentences. Perhaps you could have taken this further as a number of errors crept into the amendments you made. In addition, it would have been good to have rectified some of the more minor amendments that I requested, such as the use of possessive apostrophes and inserting accents in the painters’ names.
Yes, Good. This was apparent in your discussions of tone and colour, and linear and painterly brushwork.
You have gone over the word limit in this part of the assignment. Avoid this in future assignments