Aa100 Assignment 1
The lines that are used by Cézanne around the central figures, the bodies, have as function to distinguish these bodies from the background, another aspect that affects the creation of illusion, since these lines do not exist in the visible world.
In Vecchio’s there are no lines of this sort, and we distinguish each surface not for the separation created by the lines we see in the Bathers, but because their edges “create” shadows when they enter in touch.
Over the different generations of depictions of Cleopatra, the media has been able to mould Cleopatra into an image suited to the fashions of the time, but with keeping the fundamental characteristics the same.
In the 1917 production Cleopatra was played with a powerful and threatening persona, from an alien land.
The written accounts, in which we can learn about Cleopatra, have been taken from Roman resources and we do not have an Egyptian counterpart to use as comparison. (2008) Christopher Marlowe, Doctor Faustus, Anita Pacheco, AA100 Book 1 Reputations, Milton Keynes. Christopher Marlowe, Doctor Faustus, Act 2, Scene 1, 11. Doctor Faustus: the A text, Harlow, Pearson Longman, pg.
However, the accounts themselves have been written after the actual events, so cannot be taken as history per say. 33) He cannot wait for Mephistopheles to arrive, and for himself to feel safe and have everything he wants, and says his name three times almost yelling for him.
So I get ahead, and then do my very best to stay ahead! I have now submitted my first assignments for both of my modules, AA100 and A332.Hopefully I’ll have the results back in a couple of weeks or so and be able to build on my tutors’ feedback for the next assignments.It was two 500 word pieces for AA100, covering Cleopatra and Cezanne.The materials came nice and early this year so as soon as the kids went to school in September, I made a head start.With two modules this year, I wanted to ensure I was running ahead, and I like to allow for unexpected changes to my schedule.One was work related; a second was personal and the third was OU related. Late afternoon I picked up an email telling me that my DD307 TMA01 had been marked and was ready for collection.I was stunned – it’s the fastest I’ve ever had a TMA returned in four-plus years of study with the OU – and by some margin too.Even though the subject matter of both paintings is the same, the differences are extremely significant, especially in what concerns the modelling, the brushwork and the composition.Cézanne’s painting has no illusion of reality due to the easily detected brushwork, little sense of depth, and delineation of form.As my friend Limes pointed out, even if I stay at this level all the way through the course (and I will be working to make sure that I don’t), it’s still plenty good enough for me to achieve my goal.Time to get that SD226 TMA finished and to start looking at DD307 TMA02 to see where I can improve.