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.