<![CDATA[DRHSART - Art 3 Assignments Blog]]>Fri, 11 Sep 2026 23:18:09 -0700Weebly<![CDATA[Beyond The Old Masters: Copy > Combine >Transform]]>Wed, 09 Sep 2026 07:00:00 GMThttps://www.drhsart.com/art-3-assignments-blog/old-masters-study
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Image created by DRHSART student, Taylor Moore (class of 2011)
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Image created by DRHSART student, Sunny Kim (class of 2008)
See More Student Examples
GO BEYOND THE OLD MASTERS
THE BIG IDEA: STUDY THE PAST → UNDERSTAND IT → TRANSFORM IT

Artists do not create in a vacuum. They study other artists. They borrow, respond, remix, reinterpret, reject, and build upon ideas that came before them.

For this assignment, you will begin by closely studying a drawing by an Old Master. Your job, however, is not to simply copy it.

Instead, you will investigate HOW the artist drew, learn from those decisions, and then transform the original artwork into a contemporary mixed-media drawing that demonstrates both the Old Master's influence and your own artistic voice.
The challenge is simple to describe but difficult to accomplish:

How can you take something that is centuries old and make it feel like it belongs in a contemporary art gallery while still retaining the integrity of the marks made by the original artist?

This project is an introduction to appropriation and reinterpretation, important practices used throughout the history of art and contemporary art.


YOUR RESPONSIBILITIES
Every successful artwork in this project must accomplish BOTH of the following:


1. MASTER THE MARKS
Before you transform anything, you need to prove that you have really looked. Study the Old Master's drawing closely enough that your own work demonstrates an understanding of the artist's visual language.

When we talk about mark-making, we mean things such as:
  • Line weight: thick versus thin
  • Line quality: controlled, loose, delicate, aggressive, broken, fluid, etc.
  • Contour and cross-contour
  • Hatching and cross-hatching
  • Direction of marks
  • Repetition and rhythm
  • Pressure and density
  • Texture
  • Value and shading
  • The way lines describe volume, anatomy, movement, fabric, light, and space

Do not simply study WHAT the artist drew. Study HOW THEY DREW IT.

Ask yourself:
If my drawing were placed beside the original, would someone see visual evidence that I carefully studied how this artist made marks?
If the answer is no, you need to keep looking and drawing.

2. TRANSFORM THE MEANING
Once you understand the original artist's visual language, your second responsibility is to make the artwork your own.

This is where you must GO BEYOND THE OLD MASTER.  Changing the color, adding a background, splattering paint, or attaching collage does not automatically make an artwork contemporary. Those things change the appearance. I want you to consider changing the context, meaning, narrative, or point of view.

What does my artwork mean NOW that the original artwork did not mean before?
You might transform:
  • A historical subject into a contemporary issue
  • Traditional symbolism into personal symbolism
  • A portrait of power into a commentary about status or social media
  • A religious image into a question about contemporary belief
  • A historical figure into an exploration of identity
  • An original narrative into an entirely different story
  • A private sketch into a commentary about modern life

Your transformation may be serious, humorous, strange, personal, political, psychological, absurd, beautiful, uncomfortable, or mysterious. What I’m looking for is that you were intentional.

DON'T JUST DECORATE IT
Adding flowers, paint drips, collage, doodles, text, stitching, photographs, or bright colors can create interesting visual effects, but those additions should contribute to the idea of the artwork. Do not simply draw the Old Master and then decorate around it.  Your contemporary additions should feel integrated into the composition.

Think about:
overlap • scale • cropping • repetition • transparency • layering • negative space • visual hierarchy • movement • contrast • texture • balance

The viewer should feel that the historical and contemporary elements belong in the same visual world.


BEFORE YOU BEGIN YOUR FINAL DRAWING

Do not immediately begin working on your final Fabriano paper. Strong artwork usually develops through investigation, not through the first idea that enters your head. Before beginning your final piece, you should investigate:

MARK-MAKING
Create at least one small study in which you attempt to reproduce the Old Master's line quality, hatching, shading, textures, and other marks.

COMPOSITION
Experiment with different arrangements before committing to the final design. Consider scale, placement, cropping, focal point, negative space, and movement.

CONCEPT
Generate multiple possibilities for transforming the original artwork.

Ask:
Why am I changing this?
What am I trying to communicate?
Why does this material belong here?
What might the viewer think or feel?
Is my idea actually transforming the original—or simply decorating it?

Your first idea does not have to become your final idea.  Artists revise ideas before they revise artworks.


MATERIALS +
EXPERIMENTATION

You will receive one sheet of Fabriano handmade 90 lb drawing paper.

This is beautiful paper that responds well to drawing, staining, wet media, collage, and many mixed-media processes. Experiment.

Possible materials might include:
graphite • charcoal • ink • colored pencil • watercolor • acrylic • collage • stitching • transferred imagery • markers • found materials • text • unconventional drawing tools

You are not limited to this list.
However, remember:
Using more materials does not automatically make an artwork more sophisticated.

Choose materials because they support your concept and visual language, not simply because they are available. Meaningful experimentation involves uncertainty. You should be willing to try something when you don't completely know what will happen.


PROPORTION + THE GRID
Proportion is part of the evaluation for this assignment. You may use the grid method, but you are not required to. The grid system was used during the Renaissance and is a completely valid method for accurately transferring proportions.


If you choose to use a grid:
  1. Lightly draw your grid.
  2. Complete the basic structural drawing.
  3. Carefully erase the grid.
  4. THEN stain or alter your paper.

If you stain first and erase afterward, you may create a visible grid of erased marks that damages the surface and interrupts the integrity of the drawing.

Whether you use a grid or work through direct observation, you are responsible for carefully considering:
proportion • anatomy • placement • scale • structure • cropping


CRAFT THE IMAGE, DON'T JUST LET IT HAPPEN
There is an important difference between experimentation and simply accepting whatever happens. Accidents can become wonderful parts of an artwork, but artists still make decisions about whether those accidents belong. Throughout the process, stop and look.

Ask yourself:
What is my focal point?
Where does my eye travel?
Is something becoming too visually heavy?
Is an area unnecessarily empty?
Are my proportions believable?
Do my materials feel connected?
Are the Old Master's marks still visible?
Is my contemporary idea becoming clearer or disappearing?
What needs to be added?
More importantly, what needs to be removed?


FINISHED DOES NOT MEAN "I FILLED THE PAPER"

 One of the most important habits you can develop as an artist is learning the difference between stopping and finishing.

If you believe you are finished early, that does not mean your responsibility to the artwork is over.
It means you have earned something extremely valuable:

TIME TO REFINE.
Look again.
Correct awkward proportions.
Strengthen important marks.
Resolve unfinished areas.
Adjust contrast.
Reconsider cropping.
Integrate materials.
Remove unnecessary information.
Strengthen the focal point.
Photograph the work and look at it on a screen.
Ask another artist what they notice first.

Then return to the artwork.
Strong artists frequently spend as much time refining decisions as they do generating them.


WHAT I AM LOOKING FOR
Your work will be evaluated according to the strength of your:
Observation
Is there convincing evidence that you studied the Old Master's actual mark-making?

Proportion + Structure
Are the forms carefully observed and intentionally constructed?

Composition
Does the arrangement of visual information guide the viewer effectively?

Contemporary Transformation
Have you meaningfully changed the context rather than simply copied or decorated the original?

Concept
Is there an idea, question, narrative, or point of view behind your decisions?

Mixed-Media Integration
Do the materials interact meaningfully rather than appearing pasted onto separate parts of the artwork?

Experimentation + Risk-Taking
Did you move beyond familiar solutions and allow yourself to investigate something uncertain?

Craftsmanship + Refinement
Does the artwork demonstrate patience, revision, control, and attention to detail?

Intentionality
Can you explain WHY you made your major artistic decisions?
Picture
Etching by Albrecht Durer titled "The Draughtsman's Net"

Use This List of Old Master's Names To Find Your Inspiration

Renaissance:
Leonardo Da Vinci
Michelangelo
Albrecht Durer
Mantegna
Raphael
Tintoretto

Baroque:
Velazquez
Caravaggio
Rembrandt
Vermeer
Rubens

Neo Classical:
​Jacques Louis David
​Jean August Dominique Ingres​
​Delacroix
Gericault
​Goya


​

]]><![CDATA[The Sum of Parts]]>Mon, 03 Mar 2025 08:00:00 GMThttps://www.drhsart.com/art-3-assignments-blog/the-sum-of-parts
Cody Roberts:  Inspired by Rauschenberg, Jim Dine, Shepard Fairey, and Dada
Sophie Eichner:  Inspired by Sol Lewit
Kaelee Humphrey:  Inspired by Chris Metze, Mary Scurlock, and Cindy Neuschwander

Application of Research


Sum of Parts
Objective
The Sum of Parts Project challenges you to synthesize your artist research into a single, original artwork that reflects your artistic influences while developing your unique creative voice. This project builds on the skills you developed in the Subject, Media, Mashup assignment and prepares you to further refine your work over the summer before Art 4.

Through a methodical Copy > Combine > Transform process, you will analyze, deconstruct, and integrate visual and conceptual elements from the artists you’ve studied, creating a work that is both informed and original.

Phase 1: Research & Inspiration
To begin, reflect on the artists you have studied throughout your visual journal research. Answer the following questions for each artist:
  1. What visual trends do you notice in the artist's work? (Consider line, color, texture, form, and composition.)
  2. If you boil down the major concepts explored by the artist, what seems to be most consistent? (Think about themes, emotions, narratives, or subject matter.)
  3. Which works of art are you most drawn to? Why? (Identify specific aspects that resonate with you, such as technique, mood, or structure.)

After answering these questions, complete the following activities:
1. Inspiration Collage (Digital & Physical)
  • Using Google Docs or Word, create a single-page collage with at least 20 small color thumbnail images representing the most interesting works from your studied artists.
  • Print, cut, and paste these images into your visual journal, arranging them in a way that makes connections between them clear. This serves as your Pinterest-style mood board for the project.
2. Word Mapping Exercise
  • Take one full page in your visual journal and write words that represent the following elements from your studied artists:
    • Titles of works
    • Concepts & themes
    • Color tendencies
    • Textures and patterns
    • Compositional strategies
    • Emotions conveyed
    • Media used
  • Enhance your map by bolding, enlarging, or circling words that appear frequently across multiple artists. This will help you identify key ideas and techniques that stand out across your influences.


Phase 2: Planning & Creation
Using your collage and word map, decide how you will combine and transform elements from your studied artists into an original composition. Before you begin your final piece, complete the following:
  1. Sketch & Plan:
    • Create at least three thumbnail sketches exploring possible ways to integrate your influences.
    • Annotate your sketches to clarify which elements are inspired by which artists.
  2. Create Your Final Artwork
    • Your piece should clearly demonstrate techniques, materials, or compositional ideas from your studied artists.
    • Work in a medium of your choice but ensure that it reflects the influences you researched.
    • Your artwork must be at least 16" x 20" or an equivalent scale for sculptural works.

Phase 3: Reflection & Critique
At the conclusion of the project, you will participate in a group critique where you will:
  • Present and discuss your work alongside images of your studied artists’ works. You will create a multi-slide google presentation to use as your guide when discussing your work. 
  • Explain how you borrowed, combined, and transformed elements from your influences.
  • Analyze and offer feedback on how different artists in the class approached the same challenge.​
Rebecca Kuzemchak:  Inspired by Damien Hirst, Joseph Kosuth, and Chris Jordan
]]><![CDATA[Introspective Self Portrait]]>Mon, 04 Nov 2024 08:00:00 GMThttps://www.drhsart.com/art-3-assignments-blog/introspective-self-portrait
More Than A Portrait Of A Face
Being an artist requires a certain amount of self-awareness and the ability to be self-expressive.  In this assignment, we will create drawings that emphasize value more than line, and will explore the core aspects of our own personalities.  These large-scale drawings have become a rite of passage to the students of DRHSART, and I have no doubt that you will find this project as rewarding as it is challenging.

You will begin by taking a dramatically-lit black and white photograph. Take some time to brainstorm before shooting your photos. Who are you and what defines your character? How will you be able to portray that in a drawing? This assignment is not easy, and if done properly it will cause you to really think introspectively.

Large sheets of hand-made rag paper will be given to each student in the class.  Because this paper is so expensive, I cannot give you more than one sheet.  This means, the pressure is on to not make careless mistakes, and you are expected to care for your paper as if it were your own child.  Before you begin, you will most likely want to use a grid to ensure the accuracy of the drawing. Should you choose to use a grid, it will be up to you to figure out the ratios of your photo and paper to ensure a proper translation.  The grid has been used for centuries, and it is an excellent way to ensure accuracy of proportion.  Anytime you are creating a self portrait, having a good likeness is essential.   Be careful as you create your grid, as you do not want to leave evidence of it in the finished stage of the drawing.

Begin with the intermediate tones (medium gray) using the side of your jumbo vine charcoal and a Kleenex . For this project, you will build the drawing the same way you did with the drapery -- begin loosely with the middle tones and gradually bring in more lights and darks. Work the entire page so that all parts are developed simultaneously like a Polaroid.  

Feel free to use text in your drawing, either handwritten or stenciled, to elucidate the autobiographical "nature" of the study.  The aim here is to explore notions of composition and light while investigating questions of content and self. Remember that you do not need to have answers, but must begin honestly questioning with this language of drawing.

This project builds on everything you have learned this semester. The drapery was necessary to learn how to compose and light the entire page. The old master assignment was largely a study in line quality, the figure drawing unit in measuring angles and breaking in planes.

You will need to observe yourself with the same sensitivity and objectivity as you did when you created your blind contour drawings of your hands. Even the "hands and feet" was an exercise in how to place and overlay images. All of these will guide you in this assignment if you pay attention.


View Some Examples
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]]><![CDATA[The Design Journal]]>Mon, 16 Sep 2024 07:00:00 GMThttps://www.drhsart.com/art-3-assignments-blog/the-visual-journal
Research and Response Directions

​PAGE ONE & TWO
Decorative title spread for the artist or topic you chose to study. Open your book flat and design both pages at once in either a vertical or horizontal format.  This will save you time, and will unify your overall design.  See the  design tips that follow the page by page directions in the downloadable handout above this content. 

When studying a specific artist or group of artists, be sure to include at least 6 high quality images of artworks that are indicative of the signature style.  Don’t make the mistake of including works in your research that don’t actually belong to the artist.  The six images can be spread across the four pages of your artist research in any manner that suits your design. It's important to label those images with the titles and dates to give context to the work.

​PAGE THREE & FOUR
Include the important information you gathered  and the questions you have about what you researched. There is no one way to include your research and response across this two page spread, It's just expected that you are thorough and authentic in your writing.  

Be creative and authentic  when displaying your research. Also, be sure that your handwriting is legible on the background you've chosen.  If your typography is not legible, your design is not effective. 
​

The Design Journal

 Your Design Journal is the most important tool you'll ever use as an artist.  I truly believe in the power of the journal as a space to harness your most important creative ideas, and we will use it every day in this class. 

WHAT IS THE DESIGN JOURNAL?
Your Design Journal will be a completely independent research and idea development journal. You will turn it in four times this year (once during each quarter). The grade for this quarterly project will weigh heavily toward your final grade, so please take it seriously.

WHAT GOES IN THE BOOK ?
Artist or Concept Research and Response (1 topic per installment)
Project Brainstorming
All Class Notes
Specific Drawing / Design Challenges 
Silent Critique Feedback  (Printed and Pasted From Schoology)
Instructor Feedback  (Printed and Pasted from Powerschool)

This journal will be a personal interaction between you and your work. I will also be involved in that interaction, as I guide you with questions and comments about the content of your journal.

WHAT IS MEANT BY RESEARCH?
Your research will consist of (but is not limited to) biographical and historical content, maps, examples of artwork, notes, personal responses, questions about your research, and sketches made from found information. Research can look many different ways, but it should be focused with the intention of informing your own work. 

MAKING PERSONAL CONNECTIONS
This is NOT a formal research paper. It will have entries that are written in first person. It will be about your personal experiences as you search for information. You will include information about your struggles and triumphs with your artwork and research. This personal account is just as important as the information that you find out about your topic.

WHERE TO FIND EXAMPLES
Examples of quality research pages can be found in the student online portfolios.  Each portfolio is required to have a visual journal page on which the student displays their research as well as their thinking processes.  These examples should be helpful for you and may guide you toward artists that interest you.

HOW DO I KNOW WHAT TO STUDY?
You could start by looking through the researched artists by past students. Be sure to choose artists whose work can be researched.  Obscure artists create a difficult challenge. Many students use social media to discover artists, which is acceptable.  I only ask that you consult me before committing to researching these lesser known artists.  
​
BUDGET YOUR TIME.
Don’t wait until the day before it’s due to get started, or you will find the project to be overwhelming.  Many of you will do this, and will complain about the amount of work required to earn an “A”.  My advice is simply this: don’t wait until the last minute to get started.


​
]]><![CDATA[Analyzing Former Student Portfolios]]>Thu, 05 Sep 2019 07:00:00 GMThttps://www.drhsart.com/art-3-assignments-blog/analyzing-former-student-portfolios
Analyzing and Evaluating 

The student portfolio is an essential piece of the curriculum in this course.  It will serve as the brand for your creativity and work-ethic. Before you can be expected to design and maintain a professional portfolio site, we need to take the time to analyze and evaluate the vast collection of student websites that are displayed on our official DRHSART site. 

This activity is meant to have you collaborate and discuss with your peers the nuances of what makes one student website more professional than another.  This 40 minute activity should give each of you plenty of inspiration and information to  better design your own portfolio site.
 
Step One:  Analyze The Big Picture

First, get into your pre-assigned groups.  Once settled, I would like you each look at the student portfolio  page.  Take ten minutes to look at how it is arranged, and click through some of the portfolios on your own. When you are prompted to stop, I'd like you to get with your group and discuss the following questions:

What did you notice about how the student portfolio page was designed?  

What trends or consistent patterns emerged as you navigated the various student portfolio sites?

Step Two:  Critical Measures and Rank

As a group, take 20 minutes to navigate the websites that stand out to you.  I'd like your group to design your own ranking criteria, and evaluate those top websites that seem to stand out above the others.  Choose a "Top 5" list of sites, and make a list of at least five critical measures by which you can rank those sites. After you have your critical measures, I want your group to rank order these 5 websites in order of how they meet your measures.  

After the 20 minute timer sounds, we will share the results through informal presentations.  During these presentations,, your group will share the critical measures used to rank your "Top 5" student sites. 
Step Three:  Design Your Portfolio

After our discussion of which sites were ranked highest among the class groups, it is time to design your own portfolio site.  Some of you have created your sites last year, and some of you have not.  Those of you who have a site from the past should update and consider re-designing the site based on the critical measures discussed by the groups today. Because you are only in the beginning of Art 3, it is not expected that your website be as full of rich content as those site you ranked today. Designing a solid foundation for the content you will be adding this year is what this assignment is all about.  It's so much easier to start with a great design and add content, than it is to poorly design a site, and have to re-design it and everything it contains.

​You will have the rest of this class to work on your portfolio design, but this is the only class period we will dedicate to this task before it your site will be evaluated by me in one week. Your homework is to complete it by then. 

Assessment Rubric for Online Portfolio
]]><![CDATA[Subject Media Mashup]]>Thu, 25 Jan 2018 08:00:00 GMThttps://www.drhsart.com/art-3-assignments-blog/subject-media-mashup
To keep things organized and easy to navigate, I’ve added the needed links for this assignment in this space above the directions.  Please refer back to this space after you’ve read the directions for this assignment.

Links:
Lottery Assignment List
Number Generator
Subject Media Mashup Chart
Embrace the Shake:  Phil Hansen
100 Artists

How It Works
  1. Generate Your Variables:
    Use Random.Org to generate four lottery numbers.
    • First Two Numbers: Media you must use.
    • Third Number: Subject to address.
    • Fourth Number: An artist to study and use as inspiration.
  2. Interpret the Variables:
    • Your task is to integrate the assigned media, subjects, and artist into your final piece.
    • The media does not have to dominate the work but must be visibly incorporated.
    • Use your visual journal to brainstorm questions, explore possibilities, and develop your ideas.
  3. Push Your Boundaries:
    • Think beyond literal or linear interpretations.
    • Step outside your comfort zone to try something new.
    • Let the “limitations” of your variables fuel your creativity and open new pathways for artistic expression.
  4. Create:
    • Solve your creative equation in a way that is both inventive and authentic to you.
    • Use the artist’s work as a starting point for inspiration, not replication.

Goal
This assignment is not just about producing a final piece—it’s about challenging your understanding of art, embracing risk, and unlocking your creative potential. Use the limitations as a framework to innovate and push yourself further than ever before.
]]><![CDATA[Figure Drawing]]>Fri, 01 Sep 2017 07:00:00 GMThttps://www.drhsart.com/art-3-assignments-blog/figure-drawing
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FIGURE DRAWING UNIT

FIGURE DRAWING → MIXED MEDIA
Observation first. Interpretation second.

This assignment begins with one hour of drawing from life and ends with a mixed-media artwork that represents at least four hours of focused creative work. The goal is not simply to make the original drawing look “better.” Your job is to preserve what you observed, then use materials, experimentation, and intentional choices to transform that observation into something more personal and meaningful.

PART 1 — ONE HOUR FROM LIFE
You will work on 11 × 14-inch high-quality watercolor paper. Because the format is relatively small, every part of the picture plane is important. Before you become concerned with details, establish the entire composition.

Think first about:
  • Composition: How will the figure occupy the 11 × 14 space? Consider positive and negative space, direction, gaze, movement, cropping, and visual balance.
  • Structure: Establish the complete figure before refining individual areas. Work from the whole toward the parts.
  • Proportion: Measure. Compare. Sight. Check relationships constantly. Proportion will be a major part of the assessment.
  • Line quality: Begin lightly. Search, adjust, correct, and refine rather than committing too early to dark outlines.

At the end of the hour, STOP.

Photograph your drawing clearly before doing anything else to it. This photograph is your checkpoint and must be submitted. It documents what you accomplished through direct observation during our studio session.



PART 2 — TRANSFORM THE DRAWING
Take the original drawing home. Over the next two weeks, spend a minimum of three additional hours developing it into a finished mixed-media artwork.

You must incorporate at least three different media.
Possible materials include graphite, charcoal, Conté, colored pencil, ink, ballpoint pen, watercolor, gouache, acrylic, oil pastel, soft pastel, paint markers, collage, magazine imagery, newspaper, book pages, maps, photographs, photocopies, image transfers, typography, handwriting, stitching, thread, fabric, tape, tissue paper, cardboard, stamps, stencils, coffee or tea staining, graphite or charcoal powder, found-object printing, and digitally altered imagery that is printed and physically incorporated back into the artwork.

BUT THREE MEDIA DOES NOT MEAN THREE DECORATIONS.
Do not add materials simply because the assignment requires them.

Ask yourself:
What does this material DO for the artwork?
A material might communicate, emphasize, conceal, reveal, connect, disrupt, repeat, contrast, unify, or transform.

Charcoal might intensify movement. Transparent watercolor might establish atmosphere without destroying the drawing underneath. Photography could introduce another point of view. Collage might create fragmentation. Text could suggest memory or internal thought. Stitching could physically connect separate parts of the composition.

THE ORIGINAL DRAWING MUST SURVIVE
Your one-hour observational drawing is the foundation of the final artwork. Do not simply cover it up.

You may alter it, draw back into it, partially obscure areas, integrate other imagery, extend it, crop it visually, contrast against it, or allow portions to disappear beneath translucent layers, but the original observational drawing should remain an important and recognizable part of the finished work.
Think of it as the structural skeleton of everything that follows.

LOOK BEYOND THE SURFACE
Once observation is established, ask what else the figure might communicate.

What does the pose suggest?
What could the figure become?
What might exist around it?
Could you explore identity, memory, pressure, isolation, movement, technology, environment, emotion, time, repetition, vulnerability, strength, humor, contradiction, or something completely unexpected?

There is no single correct answer. There is, however, a difference between a random decision and an intentional one.

THIS IS THE BEGINNING OF ART 3 THINKING
You are entering a level of the DRHSART program where simply demonstrating technical skill is no longer enough. We are beginning to think about the habits that eventually become central to AP-level artmaking:
Observation · Investigation · Experimentation · Risk-Taking · Revision · Material Exploration · Visual Communication · Intention · Personal Voice

You are not expected to already know exactly what your finished artwork will look like. Observe carefully. Build a strong foundation. Experiment intelligently. Take risks. Respond to what happens. Revise when necessary. Make every material earn its place.

The first hour demonstrates how well you can see.  The next three hours begin to demonstrate what you can do with what you saw.
]]><![CDATA[Figure Drawing:  Accurate Proportion and the Effective Use of Space]]>Fri, 01 Sep 2017 07:00:00 GMThttps://www.drhsart.com/art-3-assignments-blog/figure-drawing-accurate-proportion-and-the-effective-use-of-space
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]]><![CDATA[Art History:  The Baroque]]>Tue, 05 Apr 2016 17:11:26 GMThttps://www.drhsart.com/art-3-assignments-blog/art-history-the-baroque
Art is a Reflection of Time
In our second intensive art history lecture series, we will explore the artists of the Baroque Age, and will contrast the drama they represent with what we've already studied this year.  For the most part, art reflects the social and economic circumstances of the time in which it was made.  Few eras in art history demonstrate this as well as the Baroque Age, especially when it's compared with the stability and idealistic imagery of the High Renaissance.

LINKS
Art History Basics:  Baroque and Rococo
​The Power of Art:  Caravaggio

​DOWNLOADS
art-3-baroque-test-review.pdf
File Size: 3425 kb
File Type: pdf
Download File
jeopardy-template
File Size: 4112 kb
File Type: ppt
Download File
]]><![CDATA[Art History:  The Renaissance]]>Thu, 15 Oct 2015 12:39:09 GMThttps://www.drhsart.com/art-3-assignments-blog/art-history-the-renaissance
Art History Lecture Series
This is the first Art History intensive lecture series for students in the DRHSART program.  In this unit, we will explore the depths of the Renaissance and how it both echoed the great art of the past, while setting the stage for the great art of the future.  There is no more important era in Art History, and for that reason we will begin our journey here.

Please download the annotated One Note package that contains all of the Power Point presentations, flashcards, and detail slides that I've created for this unit.  You can also add to these notes very easily in this organized package. 
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