Aa100_Tma01

Name at the top of the page please: Mark Berry' Assignment 01 Part 1 - Cleopatra Read the following passage carefully at least twice. What does it tell us about Plutarch’s view of the relationship between Antony and Cleopatra' The passage begins by describing Plutarch's view of Antony and Cleopatra’s relationship as one of merriment and jest. Plutarch tells us that Cleopatra is constantly entertaining Antony and adding a sense of escapism from Antony’s otherwise mundane life. In this opening of the passage Plutarch also describes Cleopatra’s entrancing hold over Antony. Cleopatra is already being represented in a superior light to Antony, almost like a guardian or tutor figure. Cleopatra keeps Antony in ‘constant tutelage’ (Plutarch, in AA100 Assignment Booklet, 2008, p.18) indicating not only that Cleopatra has a guiding hold over Antony but also the strength of this hold. Plutarch then goes on to describe the joys Cleopatra and Antony experience together. We see the activities and games they play. In particular we hear about them disguising themselves as a servant and maid, travelling around town to ‘scoff’ (Plutarch, in AA100 Assignment Booklet, 2008, p.18) at those less fortunate. Plutarch does, however ,indicate to us that Cleopatra has some admiration for Antony. She appears to watch him as he exercises and follows him about town not only allowing him to participate in his acts of mischief but also joining him. We begin to see Antony and Cleopatra’s relationship as almost like that of a mother and child. Plutarch goes on to describe how he sees Antony’s view of Cleopatra. We see Antony fishing and becoming vexed’ that Cleopatra has seen his lack of luck. We see Antony’s frustration and embarrassment at his misfortune emphasising Plutarch’s view that Antony looks to Cleopatra for support and guidance. Antony however seems to be unaware of the apparent hold Cleopatra has over him. We see Antony attempting to rectify his mistakes by attaching some previously caught fish to his hook giving the impression of success at his task. He appears to be unaware that Cleopatra has in fact seen through his trick, ‘pretending to admire her lover’s skill (Plutarch, in AA100 Assignment Booklet, 2008, p.18). Plutarch creates the image that Antony thinks he has fooled Cleopatra indicating to us that he does in fact see himself as the superior being. Plutarch has a view of the relationship in which Cleopatra is apparently mocking Antony. Seeing his mistake and pretending not to notice she invites her friends to observe the action the following day. She orders one of her own attendants to attach a ‘salted Pontic herring’ (Plutarch, in AA100 Assignment Booklet, 2008, p.18) to Antony’s line causing him to believe he caught it himself. A Pontic herring similar to a kipper is not a particularly good catch for someone claiming to be a fisherman and Antony is mocked again by Cleopatra and her friends. We see Cleopatra seems to acknowledge Antony’s status as an ‘Imperator’ or commander but ascertain her authority as the superior figure by ordering him to hand over his rod to her own fisherman. In conclusion the passage tells us that Plutarch views the relationship as a companionship with Cleopatra taking the leading, guiding and slightly mocking role. Bibliography Plutarch, Life of Antony, 29–30; reprinted in AA100 Assignment Booklet (October 2011), Milton Keynes, The Open University, p. 19. Part 2 - Cezanne Look carefully at Plate 1.3.24, Cezanne’s Jug and Fruit (1885-87), and Plate 1.3.30, Zurbaran’s Still Life with Lemons, Oranges and a Rose (1633). In no more than 500 words, outline what you think are the main differences between them. When viewing Cezanne’s Jug and Fruit (Plate 1.3.24), and Zurbaran’s Still Life with Lemons, Oranges and a Rose (Plate 1.3.30) we notice there are certain significant differences between the two paintings. The first major difference is in their composition and sense of depth. In Cezanne’s painting we see very little depth as the objects appear flat with broad lines and very little shading. Zurbaran’s painting however uses subtle lines and detailed shading to give a sense of perspective. The use of shading to indicate the presence and direction of a light source also differ in both paintings. Zurbaran shows his light appearing to shine from the left well inside the picture space. In Zurbaran’s painting we find ourselves imagining us inside the picture and concentrating on the subject matter, the fruit of in the painting rather than the painting itself. Cezanne however shows the light emitting from the near right of the picture space near to the audience. By bringing his light source closer to the picture plane Cezanne gives us a sense of reality and the presence of a literal surface. We are more inclined to appreciate the painting for its artistic quality rather than be absorbed by the actual scene. The use of tone and colour to create certain effects also differs between the two paintings. Zurbaran uses a wide tonal range with contrasting light and dark hues. He uses detailed shading to blend these together to create a sharp dramatic effect. Cezanne uses a narrow tonal range with limited light colours to create a sense of warmth and subtlety. He uses the two complementary colours Orange and Green against each other as opposites to create a central focal point to the picture. Cezanne paints his objects in front of a light background relying on the broad thick lines to enhance them in the picture space. Zurbaran however uses a wide tone with the contrasting light colours of the fruit against a very dark background to enhance the objects in the painting. There are also differences in the texture and brush strokes of the two paintings. Although both use the medium of oil on canvas, Zurbaran uses very minimal or linear brush strokes to create a neat, sharp effect. He uses smaller brushes to create fine detail and as ‘X’ rightly notes, ‘you would need to stand close to the painting to see marks of the brush’ (Inside Art, ‘Composition’, 2010). Zurbaran uses thin layers of paint to create different textures enhancing the presence of light on the reflective surfaces. Cezanne however uses very broad brush strokes in many different directions creating a painterly effect. The lines are thick, solid and bold creating a flatter more 2D image. This enhances our sense of this being a painting and keeps us in touch with the literal surface of the picture. In conclusion although both paintings are still life pictures of the same subject using the same medium there are fundamental differences between the two creating very different feelings and effects for the audience. Bibliography The Open University (2008), AA100 Illustration Book (Plates for Books 1 and 2), Milton Keynes, The Open University The Open University (2010) ‘Inside Art’, http://learn.open.ac.uk/mod/oucontent/view.php'id=587386 (Accessed October 29th 2011).