You will be required to write a compare and contrast essay.

Extra research on these works, you NEED to include a bibliography in the Chicago Manual Style.

You should review the Writing Primer section on Compare/Contrast Essays.  One of the things that I want to stress is that a good compare and contrast essay goes beyond the visually obvious and notes the significance of the similarities and differences of each work.   Typically, this will involve noting how each work is representative of the period, culture or artist who made it.   An essay that just answers each question as if it was a survey is NOT a good essay.  In most cases, you might consider a question and then not include that information in your essay because you consider it insignificant. (Yes, part of writing well is NOT saying everything that enters your mind.)  Make sure you consider other aspects of the work that might be applicable and add them if you think they make the comparison more interesting.

Your essay will typically end up being 3-5 pages of text (750-1000 words without bibliography or images).  DO include images and details of images that make your point more clear.  I also recommend that you refer to other artwork to demonstrate points about a period or artist's style.  You also need to include a bibliography and footnotes, if appropriate.

FYI:  cf. means compare to (as in compare and contrast this to)

These are the instructions as listed from the teacher. I wasn’t to be clear that the writer understands these fully and is able to write an excellent compare and contrast essay.

The topic of my essay that you will be comparing and contrasting is:

Jan Steen, the Effects of Intemperance, 1663-65 cf cf. El Greco, Burial of the Count Orgaz, 1586-88

Some additional information that you may need is the book that I am using which is:


Edition 4TH 11

ISBN 9780077353711

You will need to 2 use other books for reference on these works of art they can be whichever you choose but do not forget to include them in the bibliography.

The writing Premier section listed above in the teacher’s instructions is just a website that will give you a better understanding of how to write a compare and contrast essay. I will paste this information below but since you are a professional writer I doubt you will need this.

Here is the Writing Premier just for information DO NOT USE THIS INFORMATION FOR WRITING MY PAPER it is just an example of one essay in particular that my teacher presented:

Why Compare and Contrast:

You might question what such comparisons have. Art historians have found them useful for many things. A very good comparison helps you understand each individual work better and instructors often pick specific works to draw out this greater grasp on the material. Comparisons are also useful when you have to figure out who did a work of art. They are the basis of a stylistic analysis. In my case, a generalized comparison helped me understand the underlying point of the story, “Eigenkleid”. (See below or Stories page).


Dore’s dress is consistently called an Eigenkleid, a term that was coined to refer specifically to a garment that was designed by its wearer to suit her own figure, colouring, and tastes. Clearly, however, Dore did not design her own dress; it was the work of a distant artist (probably from Munich) and there is no indication in the story that it was a unique garment rather than one that was sold to other women who, like Dore, shopped by mail. The underlying moral of the story relies upon a conflation of two types of Artistic Dress. Dore’s small-town life is nearly destroyed by wearing the dress because the townsfolk read the garment as a sign of cosmopolitan pretension and as a rejection of traditional feminine mores. To cast Artistic Dress in such a light, the author had to conflate two distinct camps of Artistic Dress. The “dream of a dress” that Dore wears is clearly based on the ones made by Art-Nouveau-inspired designers. The best-known garments designed by these artists were luxurious and associated with wealthy cosmopolitan patrons of avant-garde arts. This style of Artistic Dress, much more so than the others, embraced traditional ideals of femininity, as it linked women to interiors (See Gesamtkunstwerk page) and configured them as beautiful objects (See Gender and the Gaze page) . Dore’s “deep blue dress that shimmered with silver embroidery” was based on this visually adventurous but ultimately socially conservative style of Artistic Dress. The description of how the dress fit Dore—“Nowhere was there tightness or shapelessness, there was nothing but loose, soft lines”—echoes descriptions of the most publicized example of Artistic Dress, van de Velde’s reception dress of 1902.

Rather than being associated with luxury or traditional femininity, true Eigenkleider—of the type of Artistic Dress promoted by Muthesius and developed by women associated with Art and Design schools for their own use—were often read as declarations of female independence, and indeed, “Eigenkleid” begins by describing Dore as an independent, artistic, self-supporting woman. Her lifestyle was apparently acceptable in her small town as long as she wore cheap department store blouses or overly tight (i.e., fashionable corset-based) dresses purchased from the village dressmaker. It is likely that even if she had actually worn a real Eigenkleid, that is, an economical simple garment that she had designed and made herself she would have roused little or no ire. What sets the town against Dore is a garment that never really existed—a dress that combines the luxury, beauty, and finery of Art Nouveau-based Artistic Dress with the declaration of female independence associated with the true Eigenkleid.  Significantly, although Dore departed from traditional feminine norms by selling her art for a living, she had not resigned herself to fulfilling the stereotype of the independent female artist, who was pictured in the popular press as either unattractive or amateurish or both. Dore, in her luxurious Eigenkleid, purchased from the big city with her own funds, was not a cowering, unattractive painter. Instead, she inadvertently attempted a new path, that of a woman who embraced both beauty and independence. However, the townsfolk could not accept this combination of attributes, so she abandoned her quest for beauty. At the end of the story, Dore wears English and princess-line dresses, two styles often associated with Reform Dress. This adoption of Reform Dress was often read as a signal of a woman’s renunciation of any attempt to be attractive.

Thus in the Jugend story, two types of Artistic Dress are conflated to cast Dore as a young woman who is unable to successfully navigate gender norms, and the adoption of Reform Dress is used to signal her sense of defeat. The fictional story of Dore provides some insight into why most women rejected Artistic Dress. As Ann Tracy Allen has noted, there is ample evidence to suggest that satirical journals like Jugend played an “active role in the formation and spread of new attitudes, images, and stereotypes.” The story of Dore and the many Witzblätter cartoons about Artistic Dress can be viewed as warnings to the women who read them not to adopt Artistic Dress of any sort, whether luxurious or simple, lest they be thought ridiculous or unfeminine.

Ann Taylor Allen, Satire and Society in Wilhelmine Germany:  Kladderdatsch &  Simplicissimus 1890-1900 (Lexington, KY: University Press of Kentucky, 1984),


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