COMMUNICATIVE PURPOSE: to theorize/speculate about:
-causes + /- effects
-particular meanings
-artist's choices
-possible developments, etc
Theorizing = performing an inferential type of mental activity (moving from particular items to general ideas), whose result is a thesis that must be supported by several points of proof
DISCOURSE STRATEGIES (that can be used when developing points of proof):
- explaining viewer's reactions
- formal analysis
- comparing works/artists/features
- historical/anecdotal narratives
- exemplification
- quoting/paraphrasing
- paradox, etc
STANDARD MOVE-STRUCTURE:
MOVE I: introducing the subject, thesis, list of points of proof
Step 1: Introducing the subject (title of work, artist, context of creation)
Step 2: stating the thesis: one complete, unified statement, limited to one aspect only, general enough to ask for support, defensible, not too obvious
Step 3: stating the points of proof (2-3) intended to be used in order to support the thesis
MOVE II: developing the points of proof
Step 1: developing the first point of proof
Step 2: developing the 2nd point of proof
Step 3: developing the 3rd point of proof
MOVE III: concluding by evaluating the measure in which the points of proof have demonstrated the thesis
MOVE IV: Works cited (whenever one uses bibliography)
Task 1. Comment on the way the theses and the points of proof were formulated and developed in the two texts we have read in class (1. The African Influences in Brancusi's Work by Paul Stoie and 2. Idea for Sale by Oana Boca). Which of them appears to you more convincing and why?
Task 2. Try to formulate a thesis and a list of points of proof on a subject of your choice.
Deadline: December 10
BRANCUSI
Newborn
The First Cry
The First Step
Dracea Luca-Vlad
ReplyDeleteAnul 2 Licenta
Foto-Video
Task 1
African influences in Brâncuși’s work.
Thesis: A clear, focused, and justifiable thesis stating that certain characteristics of Brâncuși sculpture result from a subtle dialogue with African sculpture, especially regarding the stylization of form and the spiritualization of volume.
The thesis is unified and does not attempt to cover all of Brâncuși, but concentrates on a single aspect: African influence. Development of demonstration points: The text uses three main strategies:
Formal analysis comparing Brâncuși’s forms with elements of African sculpture: simplification of features, vertical axis, massiveness. Historical context mentioning the contact that Parisian avant-garde artists had with African art and how this encounter produced an aesthetic revolution. Concrete examples works such as The Kiss, The Wisdom of the Earth, and The Maiastra are discussed individually.
Strength of the demonstration:
The argumentation is coherent and well-structured, progressing logically from particular to general. The formal analyses are convincing because they rely on clear visual examples. Art as a Marketable Idea Thesis:
A more essayistic thesis, suggesting that the value of a work of art depends on the mechanisms of the market and of promotion, not solely on the intrinsic qualities of the artwork.
The thesis is interesting but broader and sometimes diffuse, as it mixes social observations, irony, cultural marketing, and speculations about the status of the artist.
Elements used:
Anecdotes from the art world—often employed to illustrate the arbitrary nature of success.
Examples of artists turned into brands, implying that their value is the product of commercial discourse.
Sociological analysis of the relationship among the public, galleries, and institutions.
Strength of the demonstration:
The text is more persuasive than demonstrative, relying on an ironic tone rather than formal analysis. The arguments are not always systematically developed.
Task 2
The role of light in Caravaggio's painting.
Thesis: Light as a dramatic tool:
Caravaggio uses chiaroscuro to build narrative tension and lead the eye to essential moments of the action.
Light as a means of psychological characterization:
Selective lighting reveals the inner feelings of the characters, suggesting vulnerability, revelation or moral conflict.
Light as a strategy of resacralization:
The violent contrast between shadow and light transforms biblical scenes into immediate sensory experiences, bringing the sacred into the everyday life of the Baroque viewer.
"La Clairvoyance" is one of the most revealing and conceptual works by *René Magritte* (1898-1967), a master of surrealism.which was painted in 1936 as self-portrait. The title itself, "La Clairvoyance", suggests the key to interpretation, inviting the viewer to look beyond mere representation.
ReplyDeleteThesiss:"La Clairvoyance" by René Magritte illustrates the surrealist artist's vision that transcends the simple imitation of reality, affirming that true creation consists in revealing and materializing the hidden potential of the subject ,the transformation of the egg into a bird, thus defining the artist as a visionary.
The work depicts Magritte, dressed in a sober suit, seated at an easel. In front of him, on a table covered with a red cloth, stands an isolated egg – a traditional subject for still life and a symbol of unfulfilled potential. The artist’s gaze is fixed on this egg, but his brush, in the midst of the creative process on the canvas, does not sketch the image of the egg. Instead, Magritte paints a bird in flight, already formed, as if it had emerged from the egg and acquired life. This juxtaposition creates a visual paradox that is central to Magritte’s work: the discrepancy between the visible model (the egg) and the artistic result (the bird) nullifies the artist’s role as a simple imitator of reality.
1. The Artist as Visionary
"La Clairvoyance" can be interpreted as a statement of Magritte's artistic philosophy. By painting the future of the egg, he defines himself not as a portrait or landscape painter, but as a visionary or a clairvoyant. The artist is not limited to tangible reality and he has the ability to see into the future or potential of his subject.
2. The Relationship Between Perception and Creation
Magritte explores the question: What does the artist's eye really see? It is not a simple photographic record, but a process of mental transformation. The final image is not a replica of the object (the egg), but a manifestation of its idea, its essence, its dynamic potential. This aligns with the spirit of “Surrealism”, which emphasized the subconscious, dreams, and non-conformist logic to reveal a deeper reality, the "super-reality."
3. Transformation and Potential
The egg represents the beginning, the raw material, the potential. The bird symbolizes fulfillment, freedom, the final creation. The transfer from egg to bird on the canvas is a metaphor for the creative process.
Despite its paradoxical subject matter, "La Clairvoyance" is painted in Magritte's characteristic academic, hyperrealistic style. The details are precise, the shadows are sharp, creating a sense of realism that, ironically, makes the surreal situation all the more disturbing.
"La Clairvoyance" is not just a self-portrait, but an ode to the power of the creative mind. Through the simple juxtaposition of an egg and a bird, René Magritte manages to synthesize an entire philosophy: that *the true vision of the artist transcends what is seen* and reveals the mystery and magic of the hidden potential of things.
Task 1
ReplyDeleteWhen comparing the way the theses and points of proof are formulated in the two texts—Oana Boca’s Idea for Sale and Paul Stoie’s African Influences in Brâncuși’s Work—it becomes clear that the second text is more convincing in its academic structure and argumentative strength. Oana Boca opens with an engaging introduction and presents a thesis that suggests “selling art is an art,” but the statement is somewhat broad and functions more like a thematic observation than a clearly limited, arguable claim. Her points of proof read mainly as steps in a design process, and although they are illustrated through vivid narration and exemplification, they work more as explanations than as argumentative statements that logically defend the thesis. By contrast, Paul Stoie’s text begins with a well-defined historical context and presents a thesis that is precise, focused, and genuinely debatable: that Brâncuși was influenced by African art throughout his career, despite publicly denying it. His points of proof are structured as distinct arguments—stylistic influence, technical borrowing, and even the significance of Brâncuși’s denial—and each is supported by specific artworks, scholarly references, and direct citations. This turns the essay into a coherent demonstration of the thesis rather than a descriptive summary. While Oana Boca’s text is lively and clear, Paul Stoie’s follows the required move-structure more rigorously, uses stronger argumentative logic, and builds a more persuasive case overall.
Task 2
Vincent van Gogh’s 1889 painting The Starry Night was created during his stay at the Saint-Rémy asylum, a period of emotional turbulence and artistic experimentation.
Thesis
In The Starry Night, Van Gogh transforms a nocturnal landscape into a psychological landscape, using expressive distortions and color to convey his inner emotional state rather than a realistic scene.
Points of proof
1. Swirling movement in the sky reflects tension and restlessness.
2. Contrasting colors create emotional tension and mood.
3. Simplified and exaggerated forms show a deliberate focus on inner vision over realistic representation.
Task 1:
ReplyDeleteBoth texts follow the same academic structure—introduction, thesis, points of proof, development, and conclusion—but they use this structure in different ways. The Brancusi text focuses on artistic meaning and influences, while Idea for Sale focuses on practical design process and client communication.
The Brancusi thesis is more interpretive, claiming that African art influenced Brancusi even when he denied it. This requires more explanation and theoretical support, which the author provides through historical references, stylistic analysis, and interpretations of Brancusi’s inner conflicts. The points of proof are more abstract and depend on understanding symbolism, artistic intention, and formal qualities.
In contrast, the thesis in Idea for Sale (“Selling art is an art”) is simpler and easier to prove. The author uses clear examples, especially the parasite-inspired creature, to show how a design idea becomes a product. The points of proof rely on narration, visual explanation, and practical reasoning. Because the examples are concrete, the argument feels more accessible and immediately understandable.
Overall, Idea for Sale is more convincing in terms of clarity and step-by-step logic, while the Brancusi text is more convincing in terms of depth and artistic interpretation. If the goal is to show how well the points of proof directly support the thesis, then Idea for Sale is the stronger and more straightforward text. If the goal is to explore artistic meaning and influence, then the Brancusi text offers a richer, more complex argument.
Task 2:
MOVE I — Introducing the subject, stating the thesis, listing points of proof
Step 1 — Introducing the subject
Paul Stoie’s expository essay African Influences in Brancusi’s Work examines the presence of tribal African aesthetics within the sculpture of Constantin Brancusi, situating the discussion within the broader context of early 20th-century European avant-garde encounters with non-Western art. By combining historical references, formal observations, and documented commentary, the text seeks to reassess the degree to which African art shaped Brancusi’s stylistic development.
Step 2 — Stating the thesis
Stoie’s text is convincing because it constructs a clear, defensible argument supported by concrete examples, authoritative references, and a coherent logical progression that illustrates African influence on Brancusi’s work even where such influence is subtle, denied, or overlooked.
Step 3 — Listing the points of proof
1. This persuasiveness results from:
The strategic use of specific artworks and artistic evolution, which grounds the argument in identifiable, traceable visual evidence.
2. The integration of historical and technical explanations, particularly regarding Brancusi’s adoption of the direct-carving technique, which links his methods to African precedents.
3. The inclusion of critical voices and biographical information, showing that African influence can be detected not only in stylistic choices but also in Brancusi’s own reactions and contradictions.
Task 1.
ReplyDelete1.At the core of the first thesis is the argument that Brâncuși’s sculptural language is shaped by a subtle but significant encounter with African art. Rather than attempting to explain his entire oeuvre, the thesis focuses on a single dimension: how African sculpture inspires his treatment of form, particularly the stylization and spiritualization of volume.
This argument unfolds through three interconnected strategies.
First, the text relies on formal analysis, drawing parallels between Brâncuși’s simplified contours and the essentialized forms found in many African sculptural traditions. Features such as verticality, compact massing, and the reduction of detail are compared convincingly, supported by recognizable works like The Kiss, The Wisdom of the Earth, and The Maiastra.
Second, it situates Brâncuși within the historical context of early 20th-century Paris, where avant-garde artists were discovering non-Western art and absorbing its radical aesthetics. This cultural backdrop strengthens the claim that Brâncuși’s innovations were part of a broader artistic shift.
Finally, the argument gains force from specific visual examples, which make the comparisons concrete rather than abstract. Thanks to this structured approach, the demonstration is coherent, progressive, and persuasive.
2.The second thesis adopts a much broader and more essayistic tone. It proposes that the value attributed to art is shaped less by the inherent qualities of the work than by the market mechanisms that promote it. Here, the text blends sociological reflection, cultural critique, and irony to highlight how artistic fame can become a manufactured product.
Instead of formal analysis, the argument leans on anecdotes and cultural observations: artists treated as brands, the influence of galleries and institutions, and the sometimes arbitrary nature of public taste. These examples emphasize the instability of artistic value, suggesting that recognition is often engineered through promotion and narrative rather than through the artwork’s intrinsic merit.
Although stimulating, this line of reasoning is less tightly constructed. Its persuasive power comes more from tone and attitude than from systematic argumentation, making it feel expansive and occasionally diffuse.
Task 2.
Brâncuși’s Domnișoara Pogany transforms a real portrait into a sculptural expression of inner essence. Although inspired by Margit Pogany, the work moves far beyond individual likeness. Brâncuși reduces the features to simple, graceful shapes—almond-like eyes, a smooth curve for the nose, and only a hint of a mouth,showing his belief that sculpture should reveal spirit, not superficial detail.
The polished bronze surface reinforces this idea. Its reflective quality makes the sculpture feel timeless and almost immaterial, inviting the viewer into a quiet moment of contemplation. The elongated oval head and the vertical posture give the figure a serene, meditative presence, turning the form into something symbolic rather than descriptive.
Through these choices, Brâncuși turns a personal portrait into a universal image of introspection and femininity. Domnișoara Pogany becomes less a representation of one woman and more a pure embodiment of inner calm, perfectly reflecting Brâncuși’s lifelong search for essential form.
Hutter Doris-Maya
ReplyDeleteAnul II Licentă - DESIGN
Task 1.
Paul Stoie’s text is more convincing because it builds a clear academic argument about Brancuși’s connection to African art. He begins by placing Brancusi in the wider early-20th-century context, when European artists discovered tribal objects, and then states a precise thesis: African influence shaped both Brancusi’s early and later works. His points of proof are concrete—analysis of specific sculptures, references to direct-carving techniques borrowed from tribal art, and even Brancusi’s psychological reaction to African “demonic forces.” Each point is supported with historical details and scholarly citations, giving the argument weight. Oana Boca’s text, by contrast, introduces the world of concept art and Feng Zsu’s design process, but her thesis (“selling art is an art”) is more general and her development relies mostly on description and storytelling. She explains how an idea becomes a product, but offers fewer analytical claims and less evidence. While engaging, her text is more illustrative than argumentative. For these reasons, Stoie’s structured evidence and focused analysis make his argument stronger.
Task 2. - Introducing the subject, thesis, and list of points of proof
Step 1 - Introducing the subject
The Wassily Chair (1925), designed by Marcel Breuer at the Bauhaus, was created during a period when designers experimented with industrial materials and modernist principles. Breuer, inspired by bicycle construction and modern manufacturing, created a radically new type of chair that reflected the principles of the Bauhaus: unity of art, technology, and functional design.
Step 2: Stating the thesis
The Wassily Chair revolutionized modern furniture design by demonstrating that industrial materials could be used not only for efficiency but also for aesthetic elegance.
Step 3: Points of proof
1.Breuer’s choice of tubular steel and continuous steel frame became both the structural core and a defining visual element, making the chair an icon of industrial modernity.
2.The chair’s minimal form embodied Bauhaus functionalism while remaining visually striking, showing that elegance can arise from pure function and clarity of form.
3.The use of standardized steel tubing enabled mass production, making the chair affordable and accessible, that redefine the relationship between furniture and industry.
Cătuna Galeș Elena Ilinca
ReplyDeleteITA
Task 1
In African Influences in Brancusi’s Work, Paul Stoie presents a thesis that is simple yet concrete, summarizing the article’s central argument in just a few words. This clarity allows the subsequent arguments to feel more credible and logically developed. The academic structure and formal tone of his writing give the text an elevated, scholarly quality. Despite the complexity and importance of the topic within art history, Stoie maintains a concise, focused style that strengthens the overall effectiveness of his analysis. In contrast, Oana Boca’s Idea for Sale approaches its subject from a very different perspective. Her thesis immediately captures attention by advancing a provocative and less widely accepted idea. However, I believe her use of the term “art” is debatable, as I associate art primarily with the concept of beauty. Boca’s arguments are presented in a more approachable, conversational manner, without strict adherence to academic conventions. This style suits a personal blog or opinion-based article, making the text engaging and accessible. While Stoie’s work serves as a stronger example of academic writing, I appreciate the creative vitality and originality present in Boca’s approach.
Task 2
In 1915, Polish-born artist Kazimir Malevich founded the Russian avant-garde movement known as Suprematism, which aimed to establish the supremacy of pure feeling in art. The world of the Suprematists was conceived as a non-material realm, grounded solely in pure form, geometry, color, and contour, rather than in the representation of physical reality.
Malevich’s work Black Square inaugurated the Suprematist movement in a scandalous yet ingenious manner.
The painting was exhibited in an unusual position: placed high in the corner of the gallery, mimicking the traditional placement of Russian household icons associated with spiritual devotion. This unconventional display sparked significant controversy, which ultimately helped draw attention to and legitimize the movement. The symbolic intent behind this staging was to evoke a mystical ideal, an immaterial, transcendent world free from material concerns.
An additional argument supporting this spiritual thesis lies in Malevich’s complete abandonment of recognizable subject matter. By eliminating figurative imagery altogether, Black Square forces the viewer to engage with the artwork on a purely emotional and contemplative level. Without narrative or representation to guide interpretation, the viewer’s response becomes internal rather than descriptive, aligning directly with Suprematism’s goal of prioritizing pure feeling over material depiction.
Părăuan Francesca Lorelai
ReplyDeleteDepartment: Design
2nd year
Task 1
When comparing the two expository essays, I find that both authors follow the basic structure of stating a thesis and supporting it with several points of proof, but they do so in slightly different ways. In Paul Stoie’s text about African influences in Brancuși’s work, the thesis is very clear, focused, and academically framed: the author argues that Brancuși was influenced by African art not only in his early pieces but throughout his career, even though he denied this connection. This makes the argument easy to follow because it deals with a single idea that can be proven through concrete artistic examples, stylistic details, and historical references. His points of proof are well aligned with the thesis and each one adds a different type of support, from specific artworks connected to African aesthetics to the technical method of direct carving and finally to the psychological interpretation of Brancuși’s denial. The development of these points is solid and supported by citations, which helps make his essay feel more grounded.
Oana Boca’s text, on the other hand, has a more creative and narrative tone. Her thesis—that selling art is an art in itself, as demonstrated in Feng Zsu’s tutorial—sounds catchy but less academic. Her points of proof are more practical and focus on the steps of the design process, such as developing the idea, presenting the concept clearly, and making the final layout visually appealing. She uses storytelling and vivid descriptions, like the example of the parasite-inspired alien creature, which makes the essay engaging but sometimes feels more like a summary of a YouTube episode rather than a strongly argued thesis. Although her explanations are interesting, they drift towards describing the design process instead of arguing for the thesis in a structured way. Overall, even though both texts are effective in their own style, Paul Stoie’s feels more convincing to me because his thesis is clearer, his evidence is more consistent, and the logical connection between his ideas is stronger and more academic.
Task 2
Subject: The Artistic Value of Video Games
Thesis: Video games should be considered a form of art because they combine visual creativity, storytelling, and interactive emotional experience in ways that make them unique among modern artistic mediums.
In thinking about why video games deserve a place in the world of art, the most convincing aspect is their visual creativity. Many games today are built with highly detailed design, imaginative environments, and distinctive artistic styles that can stand alongside digital illustration or even film design. Another reason is the narrative depth that many games now develop; some of them deal with complex themes like memory, moral choice, or personal identity in ways that can be just as powerful as literature or cinema. Finally, video games offer something that traditional arts cannot: interactive emotional engagement. Because players make decisions and influence the storyline, they form a personal bond with the experience, which creates a different level of emotional involvement. For these reasons, video games clearly go beyond entertainment and demonstrate qualities that allow them to be seen and valued as a true artistic form.
Hodiș Thomas
ReplyDeleteDepartment: Design
2nd Year
Task 1
When looking at the two essays, it is easy to notice that each writer approaches the expository structure in a slightly different way, which affects how convincing their arguments feel. In Paul Stoie’s piece about Brancusi, the thesis is very direct and academically formulated, he claims that African art influenced Brancusi throughout his career, even though the sculptor refused to acknowledge it. This statement is narrow enough to be manageable but open enough to require substantial proof, which the author provides through references to Brancusi’s works, technical choices, and comments from art critics. The points of proof are organized logically, and each paragraph clearly supports the thesis with concrete examples, citations, and explanations. This gives the essay a more analytical tone and makes it feel quite structured and reliable.
Oana Boca’s text, by contrast, feels more narrative and informal. Her thesis, that selling art is an art in itself as demonstrated by Feng Zsu’s tutorial, sounds interesting but less academically grounded. Her points of proof lean heavily on storytelling, especially when she recounts the parasite-based inspiration for the creature design. This makes the text vivid and pleasant to read, but at times the examples seem to focus more on describing the design process rather than proving the thesis directly. Her development is more expressive and imaginative, but also less rigorous than Stoie’s. While both texts accomplish the assignment’s structure, I personally find Stoie’s essay more persuasive because it stays closer to an argumentative style and relies more on factual references, which gives his thesis stronger support.
Task 2
Subject: The Role of Public Art in Urban Communities
Thesis: Public art plays an essential role in improving urban communities because it strengthens local identity, encourages social interaction, and transforms ordinary spaces into meaningful cultural landmarks. Public art often becomes a symbol through which people identify with the place they live in, whether it’s a mural, a sculpture, or an installation. These artworks give neighborhoods a distinctive character and can even restore pride in areas that were previously overlooked. Besides identity, public art has the power to bring people together. When residents gather around a new mural or interact with an installation, it naturally creates conversation and shared experiences, which helps build a sense of community. Finally, public art can completely change the feeling of a space. A once dull street or empty wall can turn into something visually appealing and culturally valuable, influencing how people move, think, and feel in their city. For these reasons, public art has a meaningful impact on urban life and contributes to stronger, more connected communities.
Ispir Alexandru-Leonardo, anul 2, Arte Textile-Design Textil
ReplyDeleteTask 1
The two texts we read in class approach their topics in very different ways. In The African Influences in Brancusi’s Work by Paul Stoie, the main idea is clear and focused: African sculpture had a strong impact on Brancusi’s style. Stoie supports this with detailed observations of Brancusi’s works, stories about how he discovered African art, and specific examples of sculptures that show this influence. Everything is connected and easy to follow, which makes the argument convincing.
On the other hand, Idea for Sale by Oana Boca talks about how contemporary artists turn ideas into something people can buy. The text is interesting and full of examples, but sometimes the points feel less connected to the main idea. Some examples illustrate the concept without really analyzing it, which makes the argument a bit weaker. Overall, Stoie’s text feels more convincing because the ideas are clear and each point directly supports the main thesis.
Task 2
Vincent van Gogh’s Starry Night, painted in 1889 while he was in the Saint-Rémy asylum, shows a mix of emotional turmoil and spiritual searching. He expresses this through his use of color, lines, and composition. The bright yellows of the stars and moon stand out against the deep blue sky, creating a feeling of tension but also hope. The swirling, energetic brushstrokes give a sense of movement and restlessness, reflecting van Gogh’s inner emotions. At the same time, elements like the cypress tree and the church steeple link the earth to the sky, suggesting a spiritual connection and a search for meaning. Together, these choices show how van Gogh used every part of the painting to express what he was feeling and thinking, making Starry Night a powerful and emotional work.
Oprian Maya Gabriela Design textil anul II:
ReplyDeleteTask 1:
When we look at the two texts we read in class, they approach art in different ways. In “The African Influences in Brancusi's Work” by Paul Stoie, the main idea is that Brancusi was inspired by African art. Stoie supports this idea by comparing specific sculptures to African works, analyzing Brancusi’s choices, and giving historical context. Everything is clearly structured, which makes it easy to follow.
In “Idea for Sale” by Oana Boca, the main idea is that artists can turn ordinary ideas into creative projects. Boca gives examples, anecdotes, and explanations of the creative process. It’s interesting and creative, but the text is less structured and sometimes the points feel more like stories than strong arguments.
Overall, Stoie’s text seems more convincing because he links his thesis to clear evidence and uses careful analysis. Boca’s text is fun and inspiring, but less formal, which makes the argument weaker.
Task 2:
Leonardo da Vinci is famous for his ability to communicate ideas and emotions through his paintings. The thesis is that Leonardo’s use of composition, gestures, and details allows viewers to understand the meaning and emotion in his works.
First, his balanced composition guides the viewer’s eye and highlights important moments. In The Last Supper, the apostles are arranged so that attention naturally falls on Christ, emphasizing the drama of the scene.
Second, expressive gestures and facial expressions reveal emotions. Each apostle reacts differently, showing surprise, doubt, or devotion. In the Mona Lisa, her subtle smile and calm look suggest mystery and inner thought.
Finally, symbolic details add meaning. In Mona Lisa, the landscape, lighting, and hand placement convey serenity and complexity, helping viewers interpret her emotions and personality.
Bârlea Georgiana-Ioana,
ReplyDeleteFoto-Video (2nd year)
For credits
Task 1 , Text 1
Stoie’s thesis is relatively clear and conventional: Constantin Brancusi’s sculptural language was significantly shaped by African art, particularly through its emphasis on abstraction, essential forms, and spiritual symbolism.
The thesis is defensible, focused on a single aspect (influence), and broad enough to require sustained proof.
Stoie structures his argument around several recognizable points of proof:
Formal similarities between African sculptures and Brancusi’s works (simplification of forms, stylization, material treatment).
Historical context, emphasizing Brancusi’s exposure to African art in early 20th-century Paris.
Conceptual affinities, such as shared spiritual or ritualistic functions of art.
The points are developed primarily through formal analysis and comparison, supported by historical anecdotes and references to exhibitions and collections. Viewer reactions are implicitly addressed through the notion of “primitive” aesthetics challenging Western academic norms. The argument is cumulative and linear, which reinforces its scholarly tone.
The text is convincing because its thesis is consistently supported, though it risks oversimplification by potentially underplaying Brancusi’s originality or other influences.
Text 2
Boca’s thesis is more implicit and provocative: in contemporary art, the idea itself has become a commodified object, sometimes detached from material execution or artistic authenticity.
Unlike Stoie’s, this thesis is less explicitly stated, emerging gradually through examples and reflections.
Her supporting points include:
Examples of conceptual artworks where the idea outweighs the object.
Critical commentary on the art market, which prioritizes novelty and marketability.
Paradoxical situations in which originality is claimed but endlessly replicated.
Boca uses exemplification, paradox, and critical narrative rather than formal analysis. The viewer’s reaction—confusion, skepticism, or irony—is directly addressed, becoming part of the argument itself. The discourse feels exploratory and essayistic rather than systematic.
While intellectually stimulating, the argument can feel less rigorous because the points of proof are not always clearly delimited or hierarchized.
Overall, Paul Stoie’s text appears more convincing, mainly because of the clarity with which the thesis is stated and the disciplined way in which the points of proof are developed. His use of formal analysis and historical context creates a strong inferential chain from evidence to general claim.
However, Oana Boca’s text is more engaging conceptually, especially for contemporary readers, even if its persuasive force relies more on rhetorical effect than systematic demonstration.
Task 2.
Picasso, Guernica (1937) illustrates how a historical event can be transformed into a universal statement against war. The fragmented and distorted figures visually translate physical pain and psychological trauma, making suffering appear collective rather than individual. The black-and-white palette removes realism and emotional warmth, evoking mourning and timelessness instead of heroic action. Finally, the disordered composition, with no clear focal point, reflects the chaos and moral confusion produced by modern warfare. Together, these elements support the idea that Guernica functions less as a narrative of one event and more as a general condemnation of war itself.