Tag Archives: art/architecture/design

Maquette

“Maquette: A small model for an architectural project. See Bozzetto.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Cultural Literacy: Realism

Here is a Cultural Literacy worksheet on realism in literature and art. This is a half-page document with a reading of two sentences, the second of which is longish compound, and two comprehension questions. Once again, just the basics.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Mesoamerican Architecture

“Mesoamerican architecture: Building traditions of the indigenous cultures in parts of Mexico and Central American before the 16th-century Spanish conquest. The idea of constructing temple-pyramids appears to have taken hold early. La Venta, the center of Olmec culture c.800-400 BC, contains one of the earliest pyramidal structure, a mound of earth and clay 100 feet (30 meters) high. Mesoamerican pyramids were generally earth mounds faced with stone. Typically of stepped form, they were topped by a platform or temple which only privileged community members were allowed to approach. The best-known include the Pyramid of the Sun (rivaling the Great Pyramid of Khufu at Giza) and Pyramid of the Moon at Teotihuacan, the Castillo at Chichen Itza, and largest of all, the 177-foot (54 meters) Pyramid of Quetzalcoatl at Cholula. The Classic period (AD 100-900) saw the flourishing of Mayan architecture, in which the corbeled vault made its first appearance in the Americas. Ceremonial centers in the Mayan Lowlands proliferated, as did inscribed and dated stelae and monuments. Tikal, Uaxactun, Copan, Palenque, and Uxmal all attained their glory in these centuries. A common feature at these sites is a tlachtli, or ball court. Their raised platforms were often the architectural center of ancient cities. See also Monte Alban.”

Excerpted from: Stevens, Mark A., Ed. Merriam-Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

Mandorla

“Mandorla: An almond-shaped glory that surrounds the whole figure.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Charles Schultz on Misanthropy

“I love mankind; it’s people I can’t stand.”

Charles Schultz

Excerpted from: Winokur, Jon, ed. The Big Curmudgeon. New York: Black Dog & Leventhal, 2007.

Cultural Literacy: Museo del Prado

Here is a Cultural Literacy worksheet on the Museo del Prado. This is a half-page worksheet with a reading of two simple sentences and two comprehension questions. A neat, short symmetry to introduce a world-class institution.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Pablo Picasso on His Cultural Role

“[I am] only a public entertainer, who has understood his time.”

Attributed to Wash. Post 30 Nov. 1952. The Post article is quoting an article in Quick Magazine from the summer of 1951. According to a letter by William S. Rubin in New York Times 5 Jan. 1969, this is ‘a trumpery originated in Il Libro Nero published by Giovanni Papini in 1951.’”

Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.

The Weekly Text, 14 October 2022, Hispanic Heritage Month Week V: Salvador Dali

OK, for this, the final Friday of Hispanic Heritage Month 2022, here are a reading on Salvador Dali and the vocabulary-building and comprehension worksheet that accompanies it. What has Salvador Dali to do with Hispanic history? I can’t answer that question in the affirmative with any confidence, so I’ll offer up an opinion of Dali himself.

His art never appealed or spoke to me. In fact, I found it pretentious, dorm-room metaphysical crap. His glib self-promotion turned me off, and his cutesy personal politics, or his “surreal dalliance with fascism,” are simply repulsive. What this post shows, I am utterly loathe to admit, is that I am running out of documents with which to observe Hispanic Heritage Month. So, if you find these documents useful, I’m relieved.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

David Alfaro Sigueiros

David Alfaro Sigueiros: (1896-1975) Mexican painter. A Marxist active in his youth, he fought in the Mexican Revolution alongside Venustiano Carranza, who rewarded him by sponsoring his studies in Europe. Back in Mexico (1922), he began his lifework of decorating public buildings with murals and organizing unions of artists and workers. With Diego Rivera and Jose Clemente Orozco, he cofounded the renowned school of Mexican mural painting. His activism interrupted his career several times when he was imprisoned, chose self-imposed exile, or fought in the Spanish Civil War. His murals are marked by great dynamism, monumental size and vigor, and a limited color range subordinated to dramatic effects of light and shadow. His easel paintings (e.g. Echo of a Scream, 1937) helped establish his international reputation. In 1968 he became the first president of the Mexican Academy of Arts.

Excerpted from: Stevens, Mark A., Ed. Merriam-Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

The Weekly Text, 7 October 2022, Hispanic Heritage Month Week IV: Pablo Picasso

On this fourth Friday of Hispanic Heritage Month 2022, here is a reading on Pablo Picasso with its attendant vocabulary-building and comprehension worksheet.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.