Art Appreciation 3 Group Essay Grading Rubric, Centro Colleg

Art Appreciation3 Group Essay Grading Rubricel Centro Collegearts 1301

Art Appreciation 3 Group ESSAY GRADING RUBRIC el Centro College ARTS ALL sections Possible grade: 100 points Academic Transfer Division Mrs. Armstrong Page GROUP PROJECT GRADING RUBRIC completed by instructor. The instructor grades the GROUP’S project based on the rubric below. This assignment will be graded by the instructor and include the assessment points for the members of the group. That total is the grade recorded for each student.

GROUP items should be shared responsibility of the whole group. Everyone receives the same points. Individual items are the responsibility of one group member. Each individual receives points for their conclusion and for teamwork assessment. EACH STUDENT SUBMITS 2 items to the Assignment Link: The completed ESSAY (Group and Individual parts in one document) and an individually completed TEAMWORK ASSESSMENT FORM.

SECTION: ___________ STUDENT’S NAME: ____________________________________ GROUP PROJECT ESSAY GRADING: 100 points total (possible) GRADE : ___________ Includes completed Essay and Teamwork form points. Total of all points below. Group P1 INTRODUCTION (12 pts.): _____ Paragraph summarizes chapter 4.6 on the theme of the Art of Political Leaders and Rulers. Name the 3 parts of the chapter. (4 pts.): _____ Give a general definition of what kind of art that part is about. (4 pts.): _____ Identify the goal/purpose of each of those types of political art. (4 pts.): _____ Group P2 ICONIC PORTRAITURE OF LEADERS (12 pts.): _____ Artwork(s) chosen fits the thematic concept of iconic . NAME artwork. (4 pts.): _____ Defines iconic in this paragraph. (4 pts.): _____ How do the artworks chosen exemplify art that depicts a very (4 pts.): _____ recognizable and defining image of that leader or ruler?

Group P3 ART TO DEMONSTRATE ABSOLUTE POWER (12 pts.): _____ Artwork(s) chosen fits the thematic concept of demonstrating (4 pts.): _____ absolute power. Defines absolute power in this paragraph. (4 pts.): _____ How do the artworks chosen exemplify art that shows the absolute (4 pts.): _____ power of the leader or ruler? Group P4 ART AS SOCIETAL CONTROL (12 pts.): _____ Artwork(s) chosen fits the thematic concept of societal control. (4 pts.): _____ Defines propaganda in this paragraph. (4 pts.): _____ How does the artwork(s) chosen exemplify art that exerts control (4 pts.): _____ over a society/culture? Individual P5 PERSONAL REFLECTION Paragraph (12 pts.): _____ Using the Group Essay and your ideas from your own research and essay reflect on (consider or discuss) the following ideas.

How does the Art of Political Leaders and Rulers function within the (3 pts.): _____ culture/community in general? How has the study from your essay and the group essay affected (3 pts.): _____ your response to the artworks used in this essay? Do you think they are successful in fulfilling their purpose? Do you feel the artwork portrayal of political leaders and ruler fulfills (3 pts.): _____ a civic role and responsibility within the community? Give your final thoughts about the art of political leaders and rulers. (3 pts.): _____ Group BIBLIOGRAPHY (12 pts.): _____ 3+ In-Text citations included in Group essay (3 pts.): _____ ALL sources quoted are also cited in the Bibliography (3 pts.): _____ 3+ different sources in Bibliography (3 pts.): _____ Citations and List are MLA formatted (3 pts.): _____ Group IMAGES included: (8 pts.) _____ Place the 2 artworks with label information at the end of the essay after the Bibliography.

TITLE Artwork 1:__________________________________ Label: ____ (4 pts.) _____ TITLE Artwork 1:__________________________________ Label: ____ (4 pts.) _____ (Each group member completes the Teamwork Assessment Form rating other group member’s teamwork skills. The resulting average of teamwork points will be added to the Project Points as the Teamwork Points EARNED.) TEAMWORK ASSESSMENT POINTS EARNED ( 20 pts.): _____ HIGHEST possible Teamwork Points average is 20. Pts. ________ à· ___ (__ - 1) = ________ Formula: Total number of team points à· number of group members – 1 = points Example: 100 team points à· 5 (6-1) = 20 or 86 pts. à· 5 (6-1) = 17.2 = 17 I round up at 0.5. Art Appreciation GROUP PROJECT ESSAY El Centro College ARTS ALL sections Academic Transfer Division Name Professor name ARTS 1301.

Throughout time and even today political leaders and rulers have always played a huge role in society. Whether the ruler is a president, dictator, or even part of the monarchy these leaders have always wanted to cast an image of superiority. Most commonly the leaders would prefer to be immortalized in paintings or sculptures. The textbook Gateways to art: Understanding the visual arts states that art can be used as a tool by leaders and rulers to showcase themselves as grandiose, for propaganda, and to display themselves as righteous leaders that must be looked upon (Dewitte et al. 625).

For political leaders and rulers, art has helped portray them as iconic images because they are recognized by all from the moment they are seen. These leaders are immediately associated with historical events, time periods, or with the feelings they radiate. Consequently, through an artist’s work the leaders are put in a position where they convey and represent the attributes and traits a ruler should possess (Dewitte et al.). Art has not just made these leaders into iconic figures, art has also been used to maintain and reinforce that they are the ones with absolute power. Artworks of leaders helped depict the rulers as “the chosen one,” and as such, the artworks portray and symbolize their absolute right over things, land, decisions, and people (Dewitte et al.).

Lastly as mentioned in chapter 4.6 of the textbook, for leaders to gain societal control, artwork was utilized in the form of propaganda. Consequently, art not only glorifies these individuals, but it also served to instill obedience, loyalty, respect, and admiration for these leaders and rulers (Dewitte et al.). We believe that the artworks WASHINGTON CROSSING THE DELAWARE and the “HOPE” portrait are iconic because they were both presidents at one time, as well as holding the title of first. Obama was the first black president and his philosophy was, “if I want to make things happen I’ll just act first and apologize later” (Arnon, Ben). This portrait of Obama shows that he goes for what he wants and hopes for a better future.

Likewise, the piece WASHINGTON CROSSING THE DELAWARE is iconic because everyone recognizes Washington and the impact he had in history. Although Washington and Obama were portrayed as leaders in these pieces, their imposing roles went beyond the artistic depictions for they are both real life leaders who have made history. In essence, both works can be considered iconic for they both commemorate important times in history. Posing as one of the world’s most dominant and powerful rulers to have ever existed, Adolf Hitler, was a man that was both loved and hated by many. He was a person who demonstrated absolute power for many years, which in return made him feel invincible.

The art work demonstrated is a painting of him sitting on a stone bridge, the title of the art work is called Self-Portrait On A Stone Bridge. Through the art piece we can infer how Adolf Hitler’s life was possibly like before he became the person we all know of today. On the Telegraph it said, "It's curious to say the least how an artist, whose interests at this stage of his life should be in such peaceful and bucolic subjects, could turn into the monster he became in later life" (Emanuel, Leutze). Absolute power means someone who has complete power of everything and everyone they are leading and as such, Adolf Hitler was a great example. He was a person that went from being no one to someone that is widely known even after all these years.

When a person hears the word propaganda they automatically associate it with something bad. This is because propaganda is more commonly utilized to convey something negative because it is used to inform people of a particular political cause or point of view with a bias opinion. However, this was not the case for the piece WASHINGTON CROSSING THE DELAWARE. The piece was used to “help encourage European liberals by setting The American Revolution as an example for the Europeans to follow and be motivated” since they were trying to separate from monarchy and become their own state (Emanuel, Leutze). Additionally, the Obama “HOPE” portrait is a great example demonstrating that propaganda is not always used negatively.

Since he was the first African American to run for president, there was a lot of people that wanted to see him succeed. “I think what then happened was that there were a lot of people who were digging Obama, but they didn't have any way to symbolically show their support. Once there was an image that represented their support for Obama then that became their Facebook image or their email signature or something they use on their MySpace page” (Arnon, Ben). Works Cited Dewitte, Debra J., et al. Gateways to Art: Understanding the Visual Arts. 2nd ed., Thames & Hudson, 2015, pp.. Editors for The Telegraph. “Self Portrait On A Stone Bridge” The Telegraph. Accessed 01 Mar. 2018. “Emanuel Leutze.” Wikipedia the Free Encyclopedia, 23 Feb. 2018. “How the Obama “Hope” Poster Reached a Tipping Point and Became a Cultural Phenomenon: An Interview With the Artist Shepard Fairey." Interview. Blog post. Huff Post. Arnon, Ben., 2008. Web. 6 Mar. 2018. Leutze, Emanuel. Washington Crossing the Delaware. 1851. The Metropolitan Museum of Art, New York. 11417?sortBy=Relevance&ft=Washington+Crossing+the+Delaware&offset=0&rpp=20&pos=1. Accessed 04 Mar. 2018. Publishes for Wikiart. “Self-Portrait On A Stone Bridge” WikiArt. Accessed 01 Mar. 2018. Smithsonian. "National Portrait Gallery." Barack Obama. Smithsonian, n.d. Web. 06 Mar. 2018. Artist: Emanuel Leutze (American, Schwäbisch Gmünd 1816–1868 Washington, D.C.) Title: WASHINGTON CROSSING THE DELAWARE Date: 1851 Medium: Oil on canvas Dimensions: 149 x 255 in. (378.5 x 647.7 cm) Classification: Paintings Credit Line: Gift of John Stewart Kennedy, 1897 Accession Number: 97.34 Description Shepard Fairey, Obama “HOPE” Portrait, 2008, hand-finished collage, stencil, and acrylic on heavy paper, 69 9/16” x 46 ¼”, National Portrait Gallery. Artist: Adolf Hitler Title: Self Portrait On A Stone Bridge Date: 1910 Medium: Water color paint Dimensions: unknown Classification: Painting

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Throughout history, political leaders and rulers have wielded an immense influence on societal structure and cultural perception. Whether they are presidents, monarchs, or dictators, these figures have consistently sought to project an image of authority, legitimacy, and grandeur through various forms of art. Art serves as a potent tool to immortalize these leaders, reinforce their power, and shape public perception. As Dewitte et al. (2015) highlight, art used by political figures often aims to showcase their status, elevate their authority, or propagate political ideologies. The artwork’s role in shaping political imagery spans from personal portraits to propaganda pieces, each serving specific functions aligned with the leader's objectives.

The chapter 4.6 of Dewitte et al. (2015) divides the art of political leaders into three overarching categories. The first category is the creation of iconic portraits that serve to identify and unify the leader’s image with recognizable traits or symbols. These portraits are crafted to generate instant recognition and association with leadership qualities. The second category portrays the demonstration of absolute power, often depicted through artworks that emphasize dominance, strength, and control. The third visual strategy involves art as societal control, primarily through propaganda, designed to influence, manipulate, and maintain social order and obedience. These categories reveal the multifaceted approaches leaders have used to cultivate their images through art, each with unique objectives and effects.

Iconic portraiture of leaders is perhaps the most visible and enduring form of political art. Examples like Emanuel Leutze’s Washington Crossing the Delaware and Shepard Fairey's Hope portrait of Barack Obama exemplify this category. These artworks depict leaders in ways that evoke familiarity and reverence. Leutze’s iconic painting captures George Washington as a symbol of resilience and resolve during the American Revolution, with the turbulent river and determined stance emphasizing leadership and patriotism. The painting’s symbolic use of light and composition aims to create a heroic portrayal that transcends time, making Washington an enduring symbol of American ideals.

The Obama portrait, on the other hand, encapsulates a contemporary icon of hope, change, and progress. Fairey’s Hope poster employs bold colors, stylized elements, and a recognizable likeness to evoke strong emotional and political responses. The image’s simplicity belies its deep symbolism, as it portrays Obama as a figure of aspiration and optimism. Both artworks exemplify how visual representations can create highly recognizable and potent images of leaders, forging an almost mythic status that reinforces their authority and ideals.

Moving beyond iconography, artworks also serve to demonstrate absolute power, visually conveying dominance and control. Emanuel Leutze’s Washington Crossing the Delaware symbolically captures the strategic and military prowess of George Washington, portraying him as a commanding figure on a turbulent river, leading troops into battle. Conversely, Adolf Hitler’s Self-Portrait on a Stone Bridge reveals a different facet of power—personal control and assertion. This watercolor painting demonstrates Hitler’s self-perception as an emerging leader, hinting at his aspirations for dominance even before his rise to power. Such artworks underscore the idea that those in power seek to portray strength and invincibility, often through centralized, commanding images.

Art asserting absolute power functions as a visual affirmation of authority. A prominent example is Hitler’s Self-Portrait on a Stone Bridge, which symbolizes not only personal ambition but also a prelude to his later demonstrations of authority. It reflects an aspirational self-image that would later be associated with political tyranny. Similarly, visual representations of Washington in the famous Crossing the Delaware embody strategic brilliance and resilience—traits essential for authoritative leadership during wartime. These depictions serve to elevate their subjects as dominant figures, inspiring loyalty and obedience among followers and supporters.

The third category of political art examined here involves propaganda—visual tools designed to influence societal perceptions and control social behavior. Such artworks are often characterized by their simplicity, boldness, and emotional appeal. For instance, Emanuel Leutze’s Washington Crossing the Delaware was used beyond mere glorification; it functioned as a morale booster and a political message to European liberals advocating independence from monarchies (Emanuel, 2018). Similarly, Shepard Fairey’s Hope poster became a cultural icon, symbolizing the aspirational ideals of Barack Obama’s presidency. The poster was widely disseminated, transforming into a symbol of support and political identity—an example of art's power to serve as propaganda in a positive, rallying context (Arnon, 2008).

Propaganda in political art aims to shape public perception and secure loyalty. While often associated with negative connotations, propaganda can also serve constructive purposes, such as inspiring collective effort or national pride. The Hope poster, for example, became a rallying symbol for Obama’s supporters, evidencing art’s ability to motivate and unify (Fairey, 2008). Similarly, the painting of Washington emphasized resilience and patriotism, reinforcing American identity during a pivotal historical moment. Such artworks influence societal attitudes by fostering shared values, obedience, and allegiance, thus exemplifying art’s societal control function.

Reflecting on these categories, it becomes evident that political art functions as a crucial element of civic and cultural storytelling. It encapsulates leadership qualities, propagates ideologies, and influences public behavior, often reinforcing the authority of rulers and shaping societal norms. This visual language can elevate leaders to iconic status, demonstrate their dominance, or control public sentiment through propaganda. My study of these artworks and concepts has deepened my appreciation for the strategic use of art in politics. These visual narratives are not mere decorations but powerful tools that serve both symbolic and practical functions in maintaining political authority and social cohesion.

In conclusion, art of political leaders and rulers acts as a mirror and a mold for societal values and perceptions. It elevates figures like Washington and Obama into symbols of resilience, hope, and authority, while also serving darker purposes in propaganda and social control, as exemplified by Hitler’s imagery. The effectiveness of these works depends on their capacity to evoke emotion, inspire loyalty, and communicate complex messages succinctly. As a civic tool, art influences collective identity and societal cohesion, making it essential in both historical and contemporary contexts. Overall, the art of political leaders continues to be a powerful medium for shaping our understanding of authority, leadership, and societal values.

References

• Dewitte, Debra J., et al. Gateways to Art: Understanding the Visual Arts. 2nd ed., Thames & Hudson, 2015.
• Emanuel, Leutze. Washington Crossing the Delaware. 1851. The Metropolitan Museum of Art.
• Fairey, Shepard. Obama “HOPE” Portrait. 2008. National Portrait Gallery.
• Arnon, Ben. "How the Obama ‘Hope’ Poster Reached a Tipping Point and Became a Cultural Phenomenon." HuffPost, 2008.
• WikiArt. “Self-Portrait On A Stone Bridge.” Accessed 01 Mar. 2018.
• Smithsonian. "National Portrait Gallery." Barack Obama. Web, 06 Mar. 2018.
• Telegraph. “Self Portrait On A Stone Bridge.” Accessed