Pairs of Objects for StudyMost of the following paintings can be viewed in the William Hull Gallery, upstairs at the museum. Paintings with an asterisk (*) are on view with works from the collection of Barbara Palmer in the wraparound gallery on the ground floor.(Portrait)
Rembrandt Peale vs. John Sloan
Portrait of a Baltimore Gentleman, 1815 Self-Portrait, 1924(Still-Life)
Severin Roesen vs. Marsden Hartley
Still-Life with Grapes, 186668 Still-Life with Red Drape, 1929(Landscape)
John Frederick Kensett vs. *Childe Hassam
Flintstone, New Hampshire, c. 1850 Harney Desert Landscape, 1904Sanford Robinson Gifford vs. *Georgia OKeeffe
Long Branch Beach Lake George, 1924
(Summer Day on the NJ Coast), 1867Paul Weber vs. *Marsden Hartley
Boulder Crossing, 1855 Mountains in Stone, Dogtown, 1931(Modern Life)
Guy Pne du Bois vs. George Luks
Staten Island Trolley, c. 1907 Thompson and Bleecker Streets, 1905

Art History
Guidelines for Art History Research Paper: Follow the exact guidelines from the book, “A Short Guide to Writing About Art,” by Sylvan Barnet, Chptr 13, pgs. 270-306. Length: 3-5 typed pages long. Double-spaced. 12” font with strict 1” margins. Sources: at least three secondary sources that must be listed in a bibliography at the end. General textbooks will not be acceptable as secondary sources, and the only approved Internet source is the online Grove Dictionary of Art (Oxford Art Online). When citing an article in the Grove Dictionary of Art, be sure to look for the name of the author of the article you are citing—it is usually either in the left margin or at the end of the article. Articles in art history journals, which you access through Jstor, are acceptable sources.
Include a Title, which conveys the content in an intriguing way without being silly or outrageous. Include an Introduction. This is your first paragraph setting out what your paper will do and hinting at the conclusions. Include a thesis statement either at the start or end of the paragraph. Don’t forget a conclusion, in which you sum up your main points. Make every effort to link your topic to the themes within Baroque and its magnificence. All quotations are to be marked as such and acknowledged fully in your footnotes.
Endnotes: use them! Art history papers do not use parenthetical notes. Follow the format for endnotes in Sylvan Barnet’s Guidebook. Bibliography: a list of your secondary sources, arranged alphabetically after the endnotes. Follow the format for bibliography in Sylvan Barnet’s guidebook. Illustrations: provide illustrations for the works of art you discuss. Number your illustrations and provide captions (name of artist, title of work of art, present location) at the end of your paper. In your text, you should refer to the illustration within parentheses after the title of the work of art: e.g., Bernini, Cathedra Petri (fig. 1). See further tips in Sylvan Barnet’s guidebook. Titles of paintings are underlined or italicized! Number your pages!
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Message to professor from student:
A painting that struck me in class was that of Rigaud’s depiction of Louis XIV, in royal portraiture, and his “glamorous” legs. I thought it would be a brilliant endeavor to have a look into Baroque painters’ portrayal/depiction of their subjects legs, their pose, and their garments, and what was the underlying message; Essentially that the depiction was indeed calculated, and, neither negligent nor random. I will use as well as Rigaud’s Louis XIV (1701), and Rigaud’s Philip V (1701), and possibly one or two more pieces, offering more noble portraiture support.
Professor’s response to student:
So, for Rigaud’s Louis XIV, you might ask: What was the prevailing fashion for men in this period? You must incorporate the stockings and shoes worn as well (those high-heeled red shoes of Louis). Be certain to use specific names of each piece of clothing. Regarding his pose, (assuming a dancer’s 4th position), then you must include: When were dance positions first established? What do we know about Louis as a dancer? And, did he participate in court dances around the time of Rigaud’s portrait? How do all these components support your thesis statement?
By way of comparison, you might look for a few comparable noble state portraits with the full-length portrayal, including legs, of other Baroque kings before and after Louis, such as the Spanish king, Philip IV Habsburg, and/or the English Charles I (Stuart). How are they dressed (and why,) and do they expose leg similarly or differently? What does their pose mean or how does it prove different from your main subject of Louis XIV? Were male fashions different at their respective courts? Did these other subjects participate in dance performances? You will have to look for a book or two on the history of Costume with discussion of 17th-century dress, and on the history of Dance with a section on 17th-century practices. Please contact me if you need to add a fourth or fifth page to this research paper. The more in depth and quality info you can include, the better, without dragging it on. Concise and scholarly are my requirements. This will be turned in to “TurnItIn”.com so it must be 100% ORGINAL writing.

Art History
Guidelines for Art History Research Paper: Follow the exact guidelines from the book, “A Short Guide to Writing About Art,” by Sylvan Barnet, Chptr 13, pgs. 270-306. Length: 3-5 typed pages long. Double-spaced. 12” font with strict 1” margins. Sources: at least three secondary sources that must be listed in a bibliography at the end. General textbooks will not be acceptable as secondary sources, and the only approved Internet source is the online Grove Dictionary of Art (Oxford Art Online). When citing an article in the Grove Dictionary of Art, be sure to look for the name of the author of the article you are citing—it is usually either in the left margin or at the end of the article. Articles in art history journals, which you access through Jstor, are acceptable sources.
Include a Title, which conveys the content in an intriguing way without being silly or outrageous. Include an Introduction. This is your first paragraph setting out what your paper will do and hinting at the conclusions. Include a thesis statement either at the start or end of the paragraph. Don’t forget a conclusion, in which you sum up your main points. Make every effort to link your topic to the themes within Baroque and its magnificence. All quotations are to be marked as such and acknowledged fully in your footnotes.
Endnotes: use them! Art history papers do not use parenthetical notes. Follow the format for endnotes in Sylvan Barnet’s Guidebook. Bibliography: a list of your secondary sources, arranged alphabetically after the endnotes. Follow the format for bibliography in Sylvan Barnet’s guidebook. Illustrations: provide illustrations for the works of art you discuss. Number your illustrations and provide captions (name of artist, title of work of art, present location) at the end of your paper. In your text, you should refer to the illustration within parentheses after the title of the work of art: e.g., Bernini, Cathedra Petri (fig. 1). See further tips in Sylvan Barnet’s guidebook. Titles of paintings are underlined or italicized! Number your pages!
_________________________________________________________________________________
Message to professor from student:
A painting that struck me in class was that of Rigaud’s depiction of Louis XIV, in royal portraiture, and his “glamorous” legs. I thought it would be a brilliant endeavor to have a look into Baroque painters’ portrayal/depiction of their subjects legs, their pose, and their garments, and what was the underlying message; Essentially that the depiction was indeed calculated, and, neither negligent nor random. I will use as well as Rigaud’s Louis XIV (1701), and Rigaud’s Philip V (1701), and possibly one or two more pieces, offering more noble portraiture support.
Professor’s response to student:
So, for Rigaud’s Louis XIV, you might ask: What was the prevailing fashion for men in this period? You must incorporate the stockings and shoes worn as well (those high-heeled red shoes of Louis). Be certain to use specific names of each piece of clothing. Regarding his pose, (assuming a dancer’s 4th position), then you must include: When were dance positions first established? What do we know about Louis as a dancer? And, did he participate in court dances around the time of Rigaud’s portrait? How do all these components support your thesis statement?
By way of comparison, you might look for a few comparable noble state portraits with the full-length portrayal, including legs, of other Baroque kings before and after Louis, such as the Spanish king, Philip IV Habsburg, and/or the English Charles I (Stuart). How are they dressed (and why,) and do they expose leg similarly or differently? What does their pose mean or how does it prove different from your main subject of Louis XIV? Were male fashions different at their respective courts? Did these other subjects participate in dance performances? You will have to look for a book or two on the history of Costume with discussion of 17th-century dress, and on the history of Dance with a section on 17th-century practices. Please contact me if you need to add a fourth or fifth page to this research paper. The more in depth and quality info you can include, the better, without dragging it on. Concise and scholarly are my requirements. This will be turned in to “TurnItIn”.com so it must be 100% ORGINAL writing.