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Expert answer:Academy of Art University Impression Sunrise by Cl - Ray writers

Solved by verified expert:This is an artwork writing essay. the project i choose is :Impression, Sunrise, by Claude Monet. Here is the writing instruction:Be the artist! Choose an artist and write a letter from their perspective about an object that they created (you need to pretend you are the artist). Include an analysis about the object’s formal, historical, and contextual information. Minimum 4 pages of text. This project could be done in pairs to create dialogue in the project!There is one example writing essay post in the attached file, please check that essay and write one work that is similar to this example essay. need to use some artistic technique words and give some focus on the impressionism. Need 4 full pages essay, total word count 1300


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The Great Wave Off Kanagawa
Katsushika, Hokusai. The Great Wave Off Kanagawa. ca. 1829-1833. Color woodblock print.
10.1 in × 14.9 in. Metropolitan Museum of Art, New York City.
Metropolitan Museum of Art
681 Fifth Avenue
New York City, NY
Dear Curator,
First of all, I would like to extend my gratitude for your acceptance of my work into your
prestigious institution. It prides me to be recognized as an artist worthy of your collections.
Likewise, I’m sure your patrons will be impressed and inspired by my artistic ventures. In fact,
I’ve heard that my print has made its way into many forms of pop culture. I’ve seen it printed on
t-shirts, keychains, and mass-produced as posters and “affordable” wall art. I can’t begin to
understand why the world has such a fascination for this piece that they would display it in such
an arbitrary fashion, but I suppose I’m grateful for the recognition nonetheless. However, now
that my work resides inside a museum’s walls it can be viewed in its intended and respected
state. My hopes are that through your exhibition my work will be able to evoke a more profound
depth of thought from the masses; and so, in light of these hopes herein lies my motivation for
writing this letter. Perhaps I can provide a bit of insight into my creative process as well as a bit
of background on the piece in general. Feel free to use this information at your discretion.
The work that I submitted to you is called The Great Wave off Kanagawa. It is one of
several prints I created for a series I titled “Thirty-six views of Mount Fuji”. Mt. Fuji is the
highest mountain in Japan and has long been considered sacred this paired with my having a
personal fascination with the mountain; I was inspired to create pieces in observance of this. As
the name suggests all the images within the series feature a glimpse of the mountain, but as you
can see from this example, Mt. Fuji is not always the primary focus. Instead, the majority of the
foreground is dominated by an enormous cresting wave that threatens a group of fishermen and
their boats. They can be seen struggling to stay afloat in an unforgiving sea. I would like to
mention that contrary to popular belief, the wave itself was never intended to be viewed as a
tsunami. In fact, it is nothing more than just a rogue wave. Waves like this are exceptionally
common off the coasts of Japan. They are often caused by strong winds and shifting ocean
currents. An unfortunate effect of a storm. The common perception of the wave as a tsunami
seems to be nothing more than the product of mistranslation. With that out of the way, let me
elaborate on the work itself. As stated before, Mt. Fuji, while featured, is not the primary focus
of this work. The great blue wave engulfs the print and I’ve arranged it in a way so that it frames
the mountain in the background. The curved lines of the undulating waves dip and rise creating
the impression of fluidity and movement. The eyes are drawn upward from the calmer waters in
the lower right, past the boats, to the crest of the crashing wave. From here the eyes fall directly
on the peak of the mountain top. Looking closer at my use of lines, the calmer waters have very
few defining the waves. Compare this to the sharp and plentiful lines that populate the top of the
wave. Their spear-like texture makes the wave feel all the more deadly and menacing. This is
offset by my addition of the small flecks of white which emulate the spray of the sea. The mist
falling from the wave is delicate. I’ve even heard some compare it to the powdery snow that falls
year-round on Mt. Fuji. The contrast of tension and gentleness in my linework, I feel, creates a
balance reminiscent of the concept of yin and yang.
While my use of line resonates the traditional Japanese style of art, I used these works to
experiment with color and the important role it plays in the perception of depth. Other artists
continue to paint with limited swatches and, in line with the traditional techniques, whatever they
do include is isolated in large flat areas of pure pigment. I wanted to expand my horizons. I was
inspired by a collection of Western prints that found their way to Japan by way of Dutch trade. I
analyzed these works and became exceptionally interested in their use of linear perspective. It
was so mathematical and precise! My fascination was for these foreign works was unparalleled,
however, I had to maintain some discretion. You see, at the time Japan was experiencing a
period of national isolation. The islands borders were to remain completely closed to any foreign
trade or any foreign influence for that matter. From my understanding, the ruling family wanted
Japan to develop its own identity independent from China and the Western world. It wasn’t until
after the Meiji Restoration in 1868 that Japan’s borders reopened to imports from the West. So,
until then I decided to create my own take on perspective by blending the European and Japanese
styles together. In this work I played with the idea that things farther away should be drawn
smaller. This explains Mt. Fuji being dwarfed by the great wave. My major breakthrough was
with my newfound use of color. I created layers by combining areas of varying hue and
brightness. Low points in the water are defined by rich, dark blues and higher points by blues so
faintly tinted they appear almost white. My attempt at emulating the European style of shading
can be seen most clearly at the crest of the wave. Under each of the “claw-like” structures I
added an area of blue-gray to act as a shadow. It was extremely gratifying to experiment with
such a unique style of shading and color. Oh! On a side note, much to the chagrin of the
government at the time, the specific blue I used in this print was called “Prussian Blue”. It was a
very popular and distinct European color so I’m sure that didn’t go unnoticed.
In fact, there was quite a bit of my work that did not go unnoticed. Lucky for me it was
not by the government but by prominent European artists! Once the borders reopened, I was able
to share my work worldwide and the world seemed to love it. In 1867, I exhibited my work at the
International Exposition in Paris. For many this was the first introduction of Japanese culture to
the average European audience and afterword a craze for collecting art ensued. They called this
phenomenon, Japonisme. It wasn’t just the average population who took an interest in Japanese
art. Impressionist artists in Paris, such as Claude Monet, were great fans of Japanese artworks. I
heard it said that “the flattening of space, an interest in atmospheric conditions, and the
impermanence of modern city life both reaffirmed their own artistic interests and inspired many
future works of art.” As for my own pieces, Vincent van Gogh, himself, praised the quality of
my work and use of line in the Great Wave, and said it had a “terrifying emotional impact.”
I hope that the information I’ve provided may act as clarification and as well as a basis
for education. My work is entails much more meaning that just being an interesting design for a
t-shirt. Through the display of my work at your museum I believe that this piece will receive the
admiration and respect that it deserves, and that I desire for it, from the general public. Thank
you again.
~ Katsushika, Hokusai
Works Cited
Guth, Christine. Why the Iconic Great Wave Swept the World. 6 August 2016. Web. 9 November
2018. .
Khan Academy text by Leila Anne Harris. Hokusai, Under the Wave off Kanagawa (The Great
Wave). 2018. Web. 11 November 2018. .
Wikipedia. The Great Wave off Kanagawa. November 2018. Web. 9 November 2018.
Nearing Proficiency
Not Proficient
Not Evident
N/A (6 Points)
Provides specific identifying details
(title [in italics], artist, date/historical
period, location, materials,
dimensions) of chosen object. (6-5
Provides 50% or more required
identifying details, but format is
incorrect. (4 Points)
Provides less than 50% of required
identifying information. (3-1 Points)
Does not provide identification of
object according to guidelines. (0
Visual Evidence
N/A (8 Points)
Provides appropriate visual evidence Provides some of the required visual Provides visual evidence which does
as defined by the project guidelines. evidence, but not all pertain to the
not pertain to the project guidelines. Does not provide visual evidence. (0
(8-7 Points)
project guidelines. (6-5 Points)
(4-1 Points)
Formal Analysis
Meets “Proficient” criteria, and
demonstrates a sophisticated
awareness of the effects of the
Elements and Principles on the
object. (25-23 Points)
Formal analysis of the object is
detailed and well-organized with
specific references to the Elements of
Art and the Principles of Design. (2220 Points)
Objects and Information
References specific aspects of the
Elements of Art and Principles of
Design in relation to a Formal
Analysis, but references or aspects
are unorganized or unexplained. (1917 Points)
Description of work is present but
lacks specific reference to the
Elements of Art and Principles of
Design. (16-1 Point)
Does not reference specific aspects
of the Elements of Art and Principles
of Design in relation to a Formal
Analysis. (0 Points)
Historical Analysis
Meets “Proficient” criteria, and
provides examples demonstrating
sophisticated understanding of the
cultural traditions, ideologies, and
historical context of the object’s time
period. (25-23 Points)
Describes the cultural traditions,
ideologies, and historical context of
Describes the cultural traditions,
the object’s time period and then
ideologies, and historical context of
determines how they influenced the
the object’s time period and then
object, using examples to support the
determines how they influenced the response, but examples are
object, using examples to support the unorganized and unexplained. (19-17
response. (22-20 Points)
Doesn’t give specific reference to
object time period and lacks specific
description of the cultural traditions,
ideologies, and historical context of
the object’s time period. (16-1 Points)
Does not describe the cultural
traditions, ideologies, and historical
context of the object’s time period or
how they influenced the object. (0
Contextual Analysis
Contextual analysis of the object
explains how it represents its
Contextual analysis of the object
particular social, historical, and
explains how it represents its
cultural climate, considering subject
particular social, historical, and
matter, iconography, and the function
Meets “Proficient” criteria, and
cultural climate, considering subject of the object, using examples to
provides references to specific formal matter, iconography, and the function support the response, but examples
details and their relation to their
of the object, using examples to
are unorganized and unexplained.
cultural context. (25-23 Points)
support the response. (22-20 Points) (19-17 Points)
Doesn’t give specific reference to
how object represents its particular
social, historical, and cultural climate,
subject matter, iconography, or
function. (16-1 Points)
Does not provide a contextual
analysis of the object explaining how
it represents its particular social,
historical, and cultural climate. (0
Articulation of Response
Submission is free of errors related to
citations, grammar, spelling, syntax,
and organization and is presented in
a professional and easy to read
format. (11-10 Points)
Submission has some major errors
related to citations, grammar,
Submission has no major errors
spelling, syntax, or organization that
related to citations, grammar,
negatively impact readability and
spelling, syntax, or organization. (9-8 articulation of main ideas. (7-6
Submission has major errors related
to citations, grammar, spelling,
syntax, or organization that
negatively impact readability and
articulation of main ideas. (5-1
Submission has critical errors related
to citations, grammar, spelling,
syntax, or organization that prevent
understanding of ideas. (0 Points)
Total Points
(“A+” to “A”) 100 – 93
(“B+” to “B”) 89-80
(“D-” to “F”) 60-6
(“F”) 0
(“C” to “D”) 74-66

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