Part 1: Analyze the 2 art pieces using the questions below as a guide.
Art piece 1 (A Little Prayer For Those Who Migrate by Jake Prendez)
Art piece 2 (Victoria F. Franco: Our Lady of Guadalupe, 1978 by Yolanda Lopez)
1. What do you think the artist wanted to communicate?
2. What feeling or mood do you get from this artwork? What about it makes you say that?
3. What is the setting for the artwork–the time and place? What makes you think that?
4. When you learned the title of the artwork, how did you associate the words with what you see in front of you? Did the title seem to fit with the artwork or were you surprised?
Part 2: How does Art piece 1 connect back to what you learned this week?
1. Understand the significance of early 20th-century Mexican muralists.
2. Identify and explain the connections between 20th-century Mexican murals and the work of Jake Prendez.
3. Analyze the social justice-centered themes in Jake Prendez’s art.
– Provide specific examples from the resource in your response.
VIDEO – “The Art of Rebellion: Social Justice and Chicana/Chicano Visual Arts” by Jake Prendez:
Part 3: How does Art piece 2 connect back to what you learned this week?
1. Understand the various representations of the Virgen de Guadalupe Tonantzin.
2. Identify and explain the connections between the Virgen and Mesoamerican goddesses.
3. Analyze the Virgen’s role in Mexican and Chicana/o social movements.
– Provide specific examples from the resource in your response.
VIDEO – “Virgen de Guadalupe” by Gilbert Estrada: https://youtu.be/Lc3SzzG3NF4
Sample solution
Dante Alighieri played a critical role in the literature world through his poem Divine Comedy that was written in the 14th century. The poem contains Inferno, Purgatorio, and Paradiso. The Inferno is a description of the nine circles of torment that are found on the earth. It depicts the realms of the people that have gone against the spiritual values and who, instead, have chosen bestial appetite, violence, or fraud and malice. The nine circles of hell are limbo, lust, gluttony, greed and wrath. Others are heresy, violence, fraud, and treachery. The purpose of this paper is to examine the Dante’s Inferno in the perspective of its portrayal of God’s image and the justification of hell.
In this epic poem, God is portrayed as a super being guilty of multiple weaknesses including being egotistic, unjust, and hypocritical. Dante, in this poem, depicts God as being more human than divine by challenging God’s omnipotence. Additionally, the manner in which Dante describes Hell is in full contradiction to the morals of God as written in the Bible. When god arranges Hell to flatter Himself, He commits egotism, a sin that is common among human beings (Cheney, 2016). The weakness is depicted in Limbo and on the Gate of Hell where, for instance, God sends those who do not worship Him to Hell. This implies that failure to worship Him is a sin.
God is also depicted as lacking justice in His actions thus removing the godly image. The injustice is portrayed by the manner in which the sodomites and opportunists are treated. The opportunists are subjected to banner chasing in their lives after death followed by being stung by insects and maggots. They are known to having done neither good nor bad during their lifetimes and, therefore, justice could have demanded that they be granted a neutral punishment having lived a neutral life. The sodomites are also punished unfairly by God when Brunetto Lattini is condemned to hell despite being a good leader (Babor, T. F., McGovern, T., & Robaina, K. (2017). While he commited sodomy, God chooses to ignore all the other good deeds that Brunetto did.
Finally, God is also portrayed as being hypocritical in His actions, a sin that further diminishes His godliness and makes Him more human. A case in point is when God condemns the sin of egotism and goes ahead to commit it repeatedly. Proverbs 29:23 states that “arrogance will bring your downfall, but if you are humble, you will be respected.” When Slattery condemns Dante’s human state as being weak, doubtful, and limited, he is proving God’s hypocrisy because He is also human (Verdicchio, 2015). The actions of God in Hell as portrayed by Dante are inconsistent with the Biblical literature. Both Dante and God are prone to making mistakes, something common among human beings thus making God more human.
To wrap it up, Dante portrays God is more human since He commits the same sins that humans commit: egotism, hypocrisy, and injustice. Hell is justified as being a destination for victims of the mistakes committed by God. The Hell is presented as being a totally different place as compared to what is written about it in the Bible. As a result, reading through the text gives an image of God who is prone to the very mistakes common to humans thus ripping Him off His lofty status of divine and, instead, making Him a mere human. Whether or not Dante did it intentionally is subject to debate but one thing is clear in the poem: the misconstrued notion of God is revealed to future generations.
References
Babor, T. F., McGovern, T., & Robaina, K. (2017). Dante’s inferno: Seven deadly sins in scientific publishing and how to avoid them. Addiction Science: A Guide for the Perplexed, 267.
Cheney, L. D. G. (2016). Illustrations for Dante’s Inferno: A Comparative Study of Sandro Botticelli, Giovanni Stradano, and Federico Zuccaro. Cultural and Religious Studies, 4(8), 487.
Verdicchio, M. (2015). Irony and Desire in Dante’s” Inferno” 27. Italica, 285-297.
Sample Answer
Sample Answer
Part 1: Analysis of Art Pieces
Art Piece 1: “A Little Prayer For Those Who Migrate” by Jake Prendez
The artist wanted to communicate the experience and struggles of migrants. The artwork aims to shed light on the often difficult and dangerous journeys that individuals undertake in search of a better life. It also serves as a reminder of the humanity and dignity of migrants, urging viewers to empathize with their plight.
The artwork evokes a sense of empathy and compassion. The use of vibrant colors and intricate details in the image of the person praying creates a feeling of hope and resilience. The barbed wire in the background, however, hints at the challenges and barriers faced by migrants, contrasting with the peacefulness of the praying figure.
The setting for this artwork is not explicitly stated, but it can be seen as a representation of the border region between the United States and Mexico. The presence of the barbed wire suggests a border control context. Additionally, the use of traditional Mexican iconography, such as the Virgen de Guadalupe imagery on the person’s dress, signifies a connection to Mexican culture.
Upon learning the title, “A Little Prayer For Those Who Migrate,” the association with the artwork becomes clear. The image depicts a person praying, symbolizing their hopes, fears, and struggles during their migration journey. The title fits well with the artwork as it captures the essence of the piece and provides additional context for interpretation.
Art Piece 2: “Victoria F. Franco: Our Lady of Guadalupe, 1978” by Yolanda Lopez
The artist aims to depict the Virgen de Guadalupe as a symbol of strength and resistance within Chicana/o culture. The artwork celebrates the cultural significance and reverence for the Virgen de Guadalupe among Mexican-Americans. It also highlights her role as a source of empowerment and inspiration in social justice movements.
The artwork exudes reverence and pride. The depiction of the Virgen de Guadalupe in vibrant colors and with a confident expression evokes a sense of strength and resilience. This, coupled with the use of traditional Catholic iconography, creates a mood of devotion and cultural identity.
The setting for this artwork is not explicitly mentioned, but it can be inferred to be within a Mexican-American community. The presence of cultural symbols like the Virgen de Guadalupe and references to Chicana/o culture suggest a specific cultural context.
Given that the artwork represents the Virgen de Guadalupe, the title, “Victoria F. Franco: Our Lady of Guadalupe, 1978,” aligns perfectly with what is depicted in front of you. The title provides specific information about the subject matter and adds historical context by referencing Victoria F. Franco, who may have been an influential figure or representative of the Chicana/o community during that period.
Part 2: Connection to What Was Learned
Art Piece 1: “A Little Prayer For Those Who Migrate” by Jake Prendez
Jake Prendez’s artwork connects to what was learned this week about the significance of early 20th-century Mexican muralists. The muralist movement aimed to communicate social and political messages through art, often focusing on issues of social justice. Similarly, Prendez’s art addresses social justice concerns by highlighting the struggles faced by migrants.
Prendez’s art also shares connections with 20th-century Mexican murals in terms of its visual style and use of symbolism. The vibrant colors and bold imagery in Prendez’s artwork are reminiscent of the murals created by artists like Diego Rivera and David Alfaro Siqueiros. Additionally, Prendez incorporates traditional Mexican iconography, such as the Virgen de Guadalupe, which is also commonly featured in Mexican murals.
The social justice-centered themes in Jake Prendez’s art can be analyzed through his artwork “A Little Prayer For Those Who Migrate.” In this piece, Prendez addresses the social issue of migration and emphasizes the dignity and humanity of migrants. He uses art as a means to raise awareness and advocate for justice for these marginalized individuals.
Part 3: Connection to What Was Learned
Art Piece 2: “Victoria F. Franco: Our Lady of Guadalupe, 1978” by Yolanda Lopez
Yolanda Lopez’s artwork connects to what was learned this week about the various representations of the Virgen de Guadalupe Tonantzin. The Virgen de Guadalupe holds significant religious and cultural importance in Mexico and among Mexican-Americans. Lopez’s artwork celebrates this representation by depicting her as a symbol of strength and resistance within Chicana/o culture.
The connections between the Virgen de Guadalupe and Mesoamerican goddesses can be seen in Lopez’s artwork through her portrayal of the Virgen with indigenous features and traditional attire. This fusion represents a blending of Catholicism with pre-Columbian beliefs, acknowledging the connection between the Virgen de Guadalupe and indigenous roots.
Lopez’s artwork also explores the Virgen’s role in Mexican and Chicana/o social movements. By depicting her as a strong figure, Lopez highlights how the Virgen serves as an inspiration for activism and empowerment within these communities. This aligns with what was learned about the Virgen de Guadalupe being a symbol of identity and resistance in various social justice movements throughout history.
In conclusion, both artworks provide meaningful insights into social justice issues and cultural identity within Mexican-American communities. They connect to what was learned this week about early 20th-century Mexican muralists, representations of the Virgen de Guadalupe Tonantzin, and her role in Mexican and Chicana/o social movements. These artworks serve as powerful expressions of resilience, empowerment, and advocacy for marginalized communities.
