I have attached the assignment below. Please choose one of those artworks from module 7 and compare it to a more contemporary work. I will also attach the powerpoint the teacher sent out.
ARH 151 Chapter 19 Guide
Modern art declared its opposition to the whimsy of the late Rococo style with Neoclassical art of the late 18th and early 19th centuries.
Neoclassical art contained:
harsh sculptural lines.
a subdued palette.
Classical (especially Roman) subject matter.
Neoclassical painters, such as Jacques-Louis David, were referred to as Poussinistes, for they embraced the linear, systematic approach of Nicolas Poussin.
1 – Fig. 19.1 Jacques-Louis David, The Oath of the Horatii (1784). Oil on canvas, 11 x 14.
David was the preeminent Neoclassical painter in France.
This painting, which features a Roman subject, was viewed by the French public as a call for revolution. Ever the opportunist, David joined the fight in 1789.
2 – Fig. 19.2 Angelica Kauffman, The Artist in the Character of Design Listening to the Inspiration of Poetry (1782). Oil on canvas, D: 24.
Female artist Angelica Kauffman carried the Neoclassical style to England.
Notice the Classical columns, costume, and subject matter.
Neoclassicism: Art As Propaganda
Napoleon solidified his rule by commissioning artists, like David, to paint his portrait in a Neoclassical style. (See Fig. 21.44).
The emperors sister (Pauline Borghese) had herself portrayed as the Greco-Roman goddess Venus. Notice the strong contours and the frigid rendering of the reclining female.
3 – Fig. 21.44 Jacques-Louis David, Napolon Crossing the Alps (1800). Oil on canvas, 8 10 x 7 7.
4 – Fig. 19.3 Antonio Canova, Pauline Borghese as Venus (1808). Marble, life-sized.
Both Neoclassicism and Romanticism reflected the revolutionary spirit of the times.
While Neoclassicism emphasized restraint of emotion, purity of form, and subjects that inspired morality, Romantic artists sought:
extremes of emotion.
a brilliant palette.
Romantic artists, such as Gricault and Delacroix, were dubbed Rubenistes, for they embraced the painterly, emotive art of Peter Paul Rubens.
Thodore Gricault & Eugne Delacroix
Refers to contemporary shipwreck off the African coast (Fig. 19.4)
Reference to Byrons poem about ancient Assyrian king Sardanapalus (Fig. 19.5)
5 – Fig. 19.4 Thodore Gricault, Raft of the Medusa (1818-1819). Oil on canvas, 16 x 23.
6 – Fig. 19.5 Eugne Delacroix, The Death of Sardanapalus (1826). Oil on canvas, 12 11 1/2 x 16 3. Louvre Museum, Paris, France.
7 – Fig. 19.6 Francisco Goya, The Third of May, 1808 (1814-1815). Oil on canvas, 8 9 x 13 4.
Spanish artist Goya depicts massacre of Spanish civilians by Napoleonic troops in Madrid
Tragic subject, fluid brushwork, symbolism of color and line
Compare & Contrast: The Odalisques
Some European artists traveled to Africa and the Middle East in the 19th century. This exposure to and fascination with the East (known as Orientalism) impacted the development of Western art in the 19th century.
The stylistic differences between Ingres and Delacroixs paintings of odalisques are indicative of the Neoclassical/Romantic divide.
8 – Fig. 19.7 Jean-Auguste-Dominique Ingres, Grande Odalisque (1814). Oil on canvas, 35 1/4 x 63 3/4.
9 – Fig. 19.8 Eugne Delacroix, Odalisque (1845-1850). Oil on canvas, 14 7/8 x 18 1/4.
10 – Fig. 19.9 Adolphe William Bouguereau, Nymphs and Satyrs (1873). Oil on canvas, 102 3/8 x 70 7/8.
The style of art with the least impact on the development of modern art was the most popular type of painting in its day.
Academic art derived its style and subject matter from conventions established by the Royal Academy of Painting and Sculpture in Paris.
Established in 1648, the Academy maintained a firm grip on artistic production for more than two centuries.
The modern painters of the 19th century objected to Academic art because the subject matter did not represent real life and because the manner in which the subjects were rendered did not reflect reality as it was observed by the naked eye.
Realist artists chose to depict subjects that were evident in everyday life, using an optical approachrather than a conceptual approachto rendering subjects.
11 – Fig. 19.11 Gustave Courbet, The Stone-Breakers (1849). Oil on canvas, 63 x 102. Formerly Staatliche Kunstsammlungen, Dresden (destroyed in World War II).
Set up the Pavilion of Realism (1855)
Depicts lower-class workers on large-scale
Naked woman seated in a Parisian park among men (Fig 19.12)
Lacks the traditional glossy and realistic finish associated with academic art
Parisian prostitute stares boldly at the viewer (Fig 19.14)
Lacks academic modeling, tonal gradations, and subject matter
12 – Fig. 19.12 douard Manet, Le Djeuner sur lHerbe (Luncheon on the Grass) (1863). Oil on canvas, 7 x 8 1.
13 – Fig. 19.14 douard Manet, Olympia (1863-1865). Oil on canvas, 51 3/8 x 74 3/4.
The opening of trade between Japan and the West in the mid-19th century led to Japanese woodblock prints flowing into Paris and other cities.
Some European artists collected Japanese works. This exposure to and fascination with Japanese art (known as japonisme) impacted the development of modern art in the late 19th century and early 20th century.
14 – Fig. 19.45 Katsushika Hokusai, Under the Wave off Kanagawa (also known as The Great Wave) (Edo period, c. 1837). Polychrome woodblock print.
15 – Fig. 19.46 Ando Hiroshige, Sudden Shower over Shin-hashi Bridge and Atake (1857). Color woodblock print.
Impressionist artists reacted against the constraints of Academic style and subject matter.
They advocated painting outdoors (en plein air) and chose to render subjects found in nature.
They studied the dramatic effects of atmosphere and light on people and objects.
Using a varied palette of colors, they captured the actual colorsor local colorsof objects under different lighting conditions.
Impressionist painters juxtaposed:
complementary colors to reproduce the optical vibrations of looking at objects in full sunlight.
primary colors to produce, in the eye of the spectator, secondary colors.
Some scholars argue that both photography and Japanese prints had an impact on Impressionist compositions (i.e., cropping, high vantage point).
16 – Claude Monet, Impression, Sunrise (1872). Muse Marmottan, Paris.
17 – Fig. 19.19 Claude Monet, Rouen Cathedral (1894). Oil on canvas, 39 1/4 x 25 7/8.
Pierre Auguste Renoir & Berthe Morisot
Modern leisure activities of the bourgeoisie (Fig. 19.20)
Effects of light on surfaces
Female artists were often relegated to painting women and interiors (Fig 19.21)
18 – Fig. 19.20 Pierre Auguste Renoir, Le Moulin de la Galette (1876). Oil on canvas, 51 1/2 x 69.
19 – Fig. 19.21 Berthe Morisot, Young Girl by the Window (1878). Oil on canvas, 29 15/16 x 24.
The Post-Impressionists of the late 19th century were drawn together by their rebellion against what they considered the Impressionists excessive concern for fleeting impressions and a disregard for traditional compositional elements.
Post-Impressionists fell into two groups that parallel the stylistic polarities of the Baroque and the Neoclassical/Romantic periods.
The works of Georges Seurat and Paul Czanne maintained a more systematic approach to compositional structure, brushwork, and color.
The works of Vincent van Gogh and Paul Gauguin coordinated line and color with symbolism and emotion.
20 – Fig. 19.23 Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte (1884-1886). Oil on canvas, 81 x 120 3/8.
Conventional Realist/Impressionist subject
Pointillist technique: application of tiny dots of pure color (based on scientific color theory) to create form
Traditional subject matter (landscape and still-life), but avant-garde approach to representation through:
geometrization of nature.
abandonment of scientific perspective.
rendering of multiple views.
emphasis on the two-dimensional surface of the canvas.
21 – Fig. 3.14 Paul Czanne, Mont Sainte-Victoire Seen from Bibemus Quarry (c. 1897).
22 – Fig. 19.24 Paul Czanne, Still Life with Basket of Apples (c. 1895).
Vincent van Gogh
View from asylum window (Fig. 19.25)
Notice expressive, swirling brushwork, thick impasto, and color contrasts
Self-portrait in Arles (Fig. 19.26)
Notice visible brushstrokes, vibrant color, and Japanese print on wall
23 – Fig. 19.25 Vincent van Gogh, Starry Night (1889). Oil on canvas, 29 x 36 1/4.
24 – Fig. 19.26 Vincent van Gogh, Self-Portrait with Bandaged Ear (1889-1990). Oil on canvas, 23 5/8 x 19 1/4.
In Brittany to escape urban life (Fig (19.27)
Uses arbitrary colors that emphasize flatness of picture plane
In Tahiti to find primitive life (Fig. 19.15)
Transforms tradition of reclining female nude
25 – Fig. 19.27 Paul Gauguin, Vision after the Sermon (Jacob Wrestling with the Angel) (1888). Oil on canvas, 28 3/4 x 36 1/2.
26 – Fig. 19.15 Paul Gauguin, Te Arii Vahine (The Noble Woman) (1896). Oil on canvas, 38 3/16 x 51 3/16.
27 – Fig. 19.29 Edvard Munch, The Scream (1893). Casein on paper, 35 1/2 x 28 2/3.
In their vibrant palettes and bravura brushwork, van Gogh and Gauguin foreshadowed Expressionism.
Expressionism is the distortion of natureas opposed to the imitation of natureto achieve a desired emotional effect.
Edvard Munch expressed feelings of despair by simplifying forms, heightening color contrasts, and leaving visible marks.
European artists saw African, Oceanic, and Iberian sculpture in private collections or public ethnographic museums in Paris and other cities.
This exposure to and fascination with non-Western art forms and principles (known as primitivism) impacted the development of modern art in the late 19th and early 20th century.
28 – Fig. 19.42 Ancestral couple, Dogon, Mali (c. 1800-1850). Wood, 2 4 high.
29 – Fig. 19.52 Uli statue, from New Ireland, Papua New Guinea (18th or early 19th century). Wood, ocher, and charcoal; 4 11 1/8 high.
30 – Fig. 20.8 Mask, Etumbi region, Republic of Congo. Wood, 14 high.
Birth of Modern Sculpture
31 – Fig. 19.36 Auguste Rodin, The Burghers of Calais (1884-1895). Bronze, 79 3/8 x 77 1/8.
One 19th-century sculptor, Auguste Rodin, changed the course of the history of sculpture by applying principles of modern painting in his work.
Rodin included in his sculptures a newfound realism of subject and technique, a more fluid or impressionistic handling of the medium, and a new treatment of space.
Please close this link to return to your course.
Financial risk management in health facilities- Methodist Hospital (San Antonio, Texas)
The technique of protecting a company’s economic worth by using financial instruments to limit exposure to financial risk is known as financial risk management. The three primary categories of financial risk are operational efficiency, liquidity, and market volatility, among others. Identifying the sources of financial risk, measuring it, and creating plans to deal with it is all part of risk management in general (Yang et al., 2019).
The first health center to operate in Southern Texas Medical Center was Methodist Hospital (San Antonio), which received its charter in 1955. The hospital’s main specialties are cardiology, oncology, emergency care, bone and bone marrow transplant, neurosciences, women’s health, and orthopedics. A Comprehensive Stroke Center that is certified exists at the hospital. The hospital has conducted more neck and back surgery than any hospital in Texas and is renowned for its neurological and neurosurgery services.
The complexity of the healthcare sector makes it more challenging for managers to anticipate potential financial risks. As a result, providers must employ someone to methodically search for potential issues and create controls to reduce potential harm. This study aims to examine the methods used by Texas’ Methodist Hospital (San Antonio) to control financial risk. The study will concentrate on the management’s approach to managing the risks that the Methodist hospital faces.
Yang, Q., Wang, Y., & Ren, Y. (2019). Research on financial risk management model of internet supply chain based on data science. Cognitive Systems Research, 56, 50-55. 1
Assignment 6: Group Presentation Paper
Top of Form
Hide Assignment Information
This assignment will be submitted to Turnitin.
As a small (3-4 student) group you are required to develop a financial analysis of a healthcare organization. The intent of this assignment is to evaluate the financial and operational health of the organization. You may pursue, analyze, and synthesize any information source you choose (e.g., website content, current resident personal interviews, organizational documentation, etc.).
During the development process you will also be asked to review the work of at least one other group, provide feedback, and help support their development effort. This will also help you (1) learn about one others organization and (2) benchmark your efforts against the work of your peers.
Your content should be clear, logical, and report on (at a minimum) the business location(s) and competitive market(s). Use of a PESTLE and SWOT analysis is encouraged. From a financial perspective, your final presentations should contain analysis and discussion on 2- 3 ratios from each of the primary financial ratio categories discussed in Week 4 (e.g., liquidity, profitability, operating efficiency, and capital structure). A five year trend analysis including the most recent year of available information/data is expected for each ratio selected
.Interpret the ratios, the financial and market trends and provide your perspectives on the strengths and weaknesses of the organization.
Do not just report the data. Tell us what it means.Ultimately, we want to know if the organization is financially sound and has strong long-term growth prospects. Why or why not? Grading will focus on content development, depth of analysis and professionalism of delivery. Your final deliverable is a presentation of no more than 10 minutes in length, developed in a professional format suitable for presentation to the Board of Directors or a C-Suite executive team.
– A financial analysis of a healthcare organization paper- submit the papers in this folder. One per group submission is fine. Make sure to list all group members on the title page. Page count should be no less than 6 -12 pages.
-Video presentation (visual aids could be PPP, Prezi, poster, etc) submit presentation to the video submission folder. Make sure to list all group members on the title page.
Video presentation means that everyone presenting should be on camera and visible.
-Peer Review forms – separate submission folder (individual submissions)
Bottom of Form