Core Knowledge Art History Syllabus
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Index I: Collections
Index I: Collections This index lists ail extant paintings, oil sketches and drawings catalogued in the present volume . Copies have also been included. The works are listed alphabetically according to place. References to the number of the catalogue entries are given in bold, followed by copy numbers where relevant, then by page references and finally by figure numbers in italics. AMSTERDAM, RIJKSMUSEUM BRUGES, STEDEEÏJKE MUSEA, STEINMETZ- Anonymous, painting after Rubens : CABINET The Calydonian Boar Hunt, N o .20, copy 6; Anonymous, drawings after Rubens: 235, 237 Hippopotamus and Crocodile Hunt, N o .5, Diana and Nymphs hanting Fallow Deer, copy 12; 120 N o.21, copy 5; 239 Hippopotamus and Crocodile Hunt, N o .5, cop y 13; 120 ANTWERP, ACADEMY Anonymous, painting after Rubens: Lion Hunt, N o.ne, copy 6; 177 Lion Hunt, N o.11, copy 2; 162 BRUSSELS, MUSÉES ROYAUX DES BEAUX-ARTS DE BELGIQUE ANTWERP, MUSEUM MAYER VAN DEN BERGH Anonymous, drawing after Rubens: H.Francken II, painting after Rubens: Hippopotamus and Crocodile Hunt: Fragment of W olf and Fox Hunt, N o .2, copy 7; 96 a Kunstkammer, N o.5, copy 10; 119-120, ANTW ERP, MUSEUM PLANTIN-M O RETUS 123 ;fig .4S Anonymous, painting after Rubens: Lion Hunt, N o .n , copy 1; 162, 171, 178 BÜRGENSTOCK, F. FREY Studio of Rubens, painting after Rubens: ANTWERP, RUBENSHUIS Diana and Nymphs hunting Deer, N o .13, Anonymous, painting after Rubens : copy 2; 46, 181, 182, 186, 188, 189, 190, 191, The Calydonian Boar Hunt, N o .12, copy 7; 185 208; fig.S6 ANTWERP, STEDELIJK PRENTENKABINET Anonymous, -
Joseph: Carpenter of Steel
Digging Deeper Links from the Discussion Guide for Joseph: Carpenter of Steel Session 1 CARPENTRY TOOLS HISTORY This article describes how carpentry tools have developed from ancient times to today. ARRANGED MARRIAGES This article discusses how Betrothal And Marriage worked in Bible times. This article cites Biblical And Jewish Sources to describe the ancient procedures for betrothal. This article provides information about Arranged Marriages, including where they are taking place around the world today. MARY’S SHAME? This article by Lynn Cohick explores whether Mary faced the social stigma of being an unmarried mother, or did she only face the possibility of losing her betrothed husband Joseph? AUGUSTUS’ CENSUSES What did Caesar Augustus consider his greatest achievements? This site presents Augustus’ list of accomplishments. If you want to jump to his three censuses, look at number eight on this page: Accomplishment Number Eight Session 2 BETHLEHEM This website discusses how Bethlehem appears today, and the ways i8t commemorates the birth of Jesus: Bethlehem Today This article describes Bethlehem’s Location and Setting and discusses its history from ancient times to the birth of Jesus Christ. This article describes Bethlehem’s History from the Old Testament, through Jesus’ birth to today. FINDING A PLACE FOR MARY TO GIVE BIRTH Read an excerpt about Jesus’ birth in Bethlehem from Paul L. Maier’s book, The First Christmas. THE INN This article discusses the different ways the Greek word for ―inn‖ can be translated. JUSTIN MARTYR – THE CAVE Justin Martyr was born only 40 miles from Bethlehem. He wrote that Jesus was born in a cave near Bethlehem. -
Experience the Flemish Masters Programme 2018 - 2020
EXPERIENCE THE FLEMISH MASTERS PROGRAMME 2018 - 2020 1 The contents of this brochure may be subject to change. For up-to-date information: check www.visitflanders.com/flemishmasters. 2 THE FLEMISH MASTERS 2018-2020 AT THE PINNACLE OF ARTISTIC INVENTION FROM THE MIDDLE AGES ONWARDS, FLANDERS WAS THE INSPIRATION BEHIND THE FAMOUS ART MOVEMENTS OF THE TIME: PRIMITIVE, RENAISSANCE AND BAROQUE. FOR A PERIOD OF SOME 250 YEARS, IT WAS THE PLACE TO MEET AND EXPERIENCE SOME OF THE MOST ADMIRED ARTISTS IN WESTERN EUROPE. THREE PRACTITIONERS IN PARTICULAR, VAN EYCK, BRUEGEL AND RUBENS ROSE TO PROMINENCE DURING THIS TIME AND CEMENTED THEIR PLACE IN THE PANTHEON OF ALL-TIME GREATEST MASTERS. 3 FLANDERS WAS THEN A MELTING POT OF ART AND CREATIVITY, SCIENCE AND INVENTION, AND STILL TODAY IS A REGION THAT BUSTLES WITH VITALITY AND INNOVATION. The “Flemish Masters” project has THE FLEMISH MASTERS been established for the inquisitive PROJECT 2018-2020 traveller who enjoys learning about others as much as about him or The Flemish Masters project focuses Significant infrastructure herself. It is intended for those on the life and legacies of van Eyck, investments in tourism and culture who, like the Flemish Masters in Bruegel and Rubens active during are being made throughout their time, are looking to immerse th th th the 15 , 16 and 17 centuries, as well Flanders in order to deliver an themselves in new cultures and new as many other notable artists of the optimal visitor experience. In insights. time. addition, a programme of high- quality events and exhibitions From 2018 through to 2020, Many of the works by these original with international appeal will be VISITFLANDERS is hosting an Flemish Masters can be admired all organised throughout 2018, 2019 abundance of activities and events over the world but there is no doubt and 2020. -
The Aegean Chapter Viii the Decorative
H. J. Kantor - Plant Ornament in the Ancient Near East, Chapter VIII: The Decorative Flora of Crete and the Late Helladic Mainland SECTION II: THE AEGEAN CHAPTER VIII THE DECORATIVE FLORA OF CRETE AND THE LATE HELLADIC MAINLAND In the midst of the sea, on the long island of Crete, there dwelt a people, possessors of the fabulous Minoan culture, who are known to have had trade relations with Egypt, and with other Near-Eastern lands. Still farther away towards the north lies the Mainland of Greece, a region that proved itself to be a very hospitable host to the graft of Minoan culture. Before the close of the LH period the ceramic results of this union were to be spread over the Near East in great profusion and it becomes necessary to define the extent of Aegean influence on those traditions of Near-Eastern art that lie within the scope of our topic. Before this is possible a concise summary of the plant ornamentation of the Aegean must be presented.1 This background forms a necessary basis without which the reaction of Aegean plant design on the main development of our story, be it large or small, cannot be determined. 1 A great deal of interest and work has been devoted to the study of Minoan decorative art almost since the beginning of its discovery, and full advantage of this has been taken in the preparation of the present survey. The chief treatments of the subject are as follows: Edith H. Hall, The Decorative Art of Crete in the Bronze Age (Philadelphia, 1907); Ernst Reisinger, Kretische Vasenmalerei vom Kamares bis zum Palast-Stil (Leipzig, Berlin, 1912); Diederich Fimmen, Die Kretisch-Mykenische Kulture (Leipzig, Berlin, 1924), Alois Gotsmich, Entwicklungsgang der Kretischen Ornamentik, Wein, 1923); Frederich Matz, Frühkretische Siegel (Berlin, 1928), covering a much wider field than is indicated by the title; Georg Karo, Die Schachtgräber von Mykenai (Munchen, 1939). -
Churches of Peace (Poland) Protestants Were Persecuted and Deprived of the Right and Possibility to Practise Their Faith
for his subjects. At that time Silesia was a part of the Catholic Habsburg monarchy. In most of the province Churches of Peace (Poland) Protestants were persecuted and deprived of the right and possibility to practise their faith. Through the agency of the No 1054 Lutheran king of Sweden, the Emperor finally allowed (1651–52) the erection of three churches, henceforth known as the Churches of Peace, in Silesian principalities under direct Habsburg rule in Glogow (Glogau), which ceased to exist in the 18th century, Jawor (Jauer), and Swidnica (Schweidnitz) in the south-west part of present-day Poland. The Emperor’s consent was, however, given upon conditions Identification that were difficult to comply with. The churches had to be built exclusively of perishable materials (wood and clay), Nomination Churches of Peace in Jawor and Swidnica located outside city walls, and built in a limited period of time. These restrictions, together with the need to provide Location Historic region of Silesia, Principality of adequate space for large crowds of worshippers, forced the Swidnica and Jawor architect, Albrecht von Sabisch (1610–88), a prominent master-builder and fortification designer active in Wroclaw, State Party Republic of Poland to implement pioneering constructional and architectural solutions of a scale and complexity unknown ever before or Date 30 June 2000 since in wooden architecture. The timber-framed structures of enormous scale and complexity were assembled. The Churches of Peace, as they are still called today, were to be as inconspicuous as possible in the townscape; they were to be the refuge of a legally disadvantaged and only reluctantly tolerated minority, whose role as outsiders Justification by State Party should be evident in the location of the churches outside The Churches of Peace in Jawor and Swidnica give the protective city walls. -
Art List by Year
ART LIST BY YEAR Page Period Year Title Medium Artist Location 36 Mesopotamia Sumerian 2600 Standard of Ur Inlaid Box British Museum 36 Mesopotamia Sumerian 2600 Stele of the Vultures (Victory Stele of Eannatum) Limestone Louvre 38 Mesopotamia Sumerian 2600 Bull Headed Harp Harp British Museum 39 Mesopotamia Sumerian 2600 Banquet Scene cylinder seal Lapis Lazoli British Museum 40 Mesopotamia Akkadian 2254 Victory Stele of Narum-Sin Sandstone Louvre 42 Mesopotamia Akkadian 2100 Gudea Seated Diorite Louvre 43 Mesopotamia Akkadian 2100 Gudea Standing Calcite Louvre 44 Mesopotamia Babylonian 1780 Stele of Hammurabi Basalt Louvre 45 Mesopotamia Assyrian 1350 Statue of Queen Napir-Asu Bronze Louvre 46 Mesopotamia Assyrian 750 Lamassu (man headed winged bull 13') Limestone Louvre 48 Mesopotamia Assyrian 640 Ashurbanipal hunting lions Relief Gypsum British Museum 65 Egypt Old Kingdom 2500 Seated Scribe Limestone Louvre 75 Egypt New Kingdom 1400 Nebamun hunting fowl Fresco British Museum 75 Egypt New Kingdom 1400 Nebamun funery banquet Fresco British Museum 80 Egypt New Kingdom 1300 Last Judgement of Hunefer Papyrus Scroll British Museum 81 Egypt First Millenium 680 Taharqo as a sphinx (2') Granite British Museum 110 Ancient Greece Orientalizing 625 Corinthian Black Figure Amphora Vase British Museum 111 Ancient Greece Orientalizing 625 Lady of Auxerre (Kore from Crete) Limestone Louvre 121 Ancient Greece Archaic 540 Achilles & Ajax Vase Execias Vatican 122 Ancient Greece Archaic 510 Herakles wrestling Antaios Vase Louvre 133 Ancient Greece High -
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Global histories a student journal The Construction of Chinese Art History as a Modern Discipline in the Early Twentieth Century Author: Jialu Wang DOI: http://dx.doi.org/10.17169/GHSJ.2019.294 Source: Global Histories, Vol. 5, No. 1 (May 2019), pp. 64-77 ISSN: 2366-780X Copyright © 2019 Jialu Wang License URL: https://creativecommons.org/licenses/by/4.0/ Publisher information: ‘Global Histories: A Student Journal’ is an open-access bi-annual journal founded in 2015 by students of the M.A. program Global History at Freie Universität Berlin and Humboldt-Universität zu Berlin. ‘Global Histories’ is published by an editorial board of Global History students in association with the Freie Universität Berlin. Freie Universität Berlin Global Histories: A Student Journal Friedrich-Meinecke-Institut Koserstraße 20 14195 Berlin Contact information: For more information, please consult our website www.globalhistories.com or contact the editor at: [email protected]. The Construction of Chinese Art History as a Modern Discipline in the Early Twentieth Century by: WANG JIALU Wang Jialu Construction of Chinese Art | 65 | VI - 1 - 2019 Nottingham Ningbo China. ABOUT THE AUTHOR degree in Transcultural Studies at the Studies degree in Transcultural with a particular focus on China and its are Visual, Media and Material Cultures, global art history, and curating practices. global art history, She also holds an MA degree in Identity, She also holds an MA degree in Identity, London and a BA degree in International London contemporary media and cultural studies, Jialu Wang is currently pursuing a Master’s is currently pursuing a Master’s Jialu Wang Culture and Power from University College Culture and Power Communications Studies from University of Communications Studies University of Heidelberg. -
Questions of Fashion
http://www.jstor.org/stable/10.1086/677870 . Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and Bard Graduate Center are collaborating with JSTOR to digitize, preserve and extend access to West 86th. http://www.jstor.org This content downloaded from 185.16.163.10 on Tue, 23 Jun 2015 06:24:53 AM All use subject to JSTOR Terms and Conditions Questions of Fashion Lilly Reich Introduction by Robin Schuldenfrei Translated by Annika Fisher This article, titled “Modefragen,” was originally published in Die Form: Monatsschrift für gestaltende Arbeit, 1922. 102 West 86th V 21 N 1 This content downloaded from 185.16.163.10 on Tue, 23 Jun 2015 06:24:53 AM All use subject to JSTOR Terms and Conditions Introduction In “Questions of Fashion,” Lilly Reich (1885–1947) introduces readers of the journal Die Form to recent developments in the design of clothing with respect to problems of the age.1 Reich, who had her own long-established atelier in Berlin, succinctly contextualizes issues that were already mainstays for the Werkbund, the prominent alliance of designers, businessmen, and government figures committed to raising design standards in Germany, of which she was a member. -
What Is Art History?
Chapter 1 What is art history? A thing of beauty is a joy forever Keats Can art have a history? We think about art as being timeless, the ‘beauty’ of its appearance having meaning, significance, and appeal to humankind across the ages. At least this usually applies to our ideas about ‘high’, or fine, art, in other words painting and sculpture. This kind of visual material can have an autonomous existence – we can enjoy looking at it for its own sake, independent of any knowledge of its context, although of course viewers from different time periods or cultures may see the same object in contrasting ways. Art appreciation and criticism When we look at a painting or sculpture, we often ask the following questions: who made it?; what is the subject?; when was it completed? These are quite valid questions that are often anticipated and answered in, for example, the captions to illustrations in art books and the labels to works displayed in museums and galleries. For many of us these pieces of information are sufficient. Our curiosity about the who, what, and when of art is satisfied and we can get on with appreciating the artwork, or just enjoying looking at it. For those of us also interested in how, 1 information on the technique used – for instance, oil or tempera (see Chapter 6) – might help us to appreciate further the skill of the artist. The important thing to note about this kind of art appreciation is that it requires no knowledge of art history. The history of an individual work is contained within itself and can be found in the answers to the questions who, what, when, and how. -
Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels Between English Poetry and the Visual Arts Roberta Aronson
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Fall 1-1-2003 Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts Roberta Aronson Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Aronson, R. (2003). Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/11 This Worldwide Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts A Dissertation Presented to the Faculty of the McAnulty College and Graduate School of Liberal Arts Duquesne University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Roberta Chivers Aronson October 1, 2003 @Copyright by Roberta Chivers Aronson, 2003 ACKNOWLEDGEMENTS I would like to extend my appreciation to my many colleagues and family members whose collective support and inspiration underlie all that I do: • To my Provost, Dr. Ralph Pearson, for his kind professional encouragement, • To my Dean, Dr. Connie Ramirez, who creates a truly collegial and supportive academic environment, • To my Director, Dr. Albert C. Labriola, for his intellectual generosity and guidance; to Dr. Bernard Beranek for his enthusiasm and thoughtful conversation; and to Dr. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Modern Minoica As Religious Focus in Contemporary Paganism
The artifice of Daidalos: Modern Minoica as religious focus in contemporary Paganism More than a century after its discovery by Sir Arthur Evans, Minoan Crete continues to be envisioned in the popular mind according to the outdated scholarship of the early twentieth century: as a peace-loving, matriarchal, Goddess-worshipping utopia. This is primarily a consequence of more up-to-date archaeological scholarship, which challenges this model of Minoan religion, not being easily accessible to a non-scholarly audience. This paper examines the use of Minoan religion by two modern Pagan groups: the Goddess Movement and the Minoan Brotherhood, both established in the late twentieth century and still active. As a consequence of their reliance upon early twentieth-century scholarship, each group interprets Minoan religion in an idealistic and romantic manner which, while suiting their religious purposes, is historically inaccurate. Beginning with some background to the Goddess Movement, its idiosyncratic version of history, and the position of Minoan Crete within that timeline, the present study will examine the interpretation of Minoan religion by two early twentieth century scholars, Jane Ellen Harrison and the aforementioned Sir Arthur Evans—both of whom directly influenced popular ideas on the Minoans. Next, a brief look at the use of Minoan religious iconography within Dianic Feminist Witchcraft, founded by Zsuzsanna Budapest, will be followed by closer focus on one of the main advocates of modern Goddess worship, thealogian Carol P. Christ, and on the founder of the Minoan Brotherhood, Eddie Buczynski. The use of Minoan religion by the Goddess Movement and the Minoan Brotherhood will be critiqued in the light of Minoan archaeology, leading to the conclusion that although it provides an empowering model upon which to base their own beliefs and practices, the versions of Minoan religion espoused by the Goddess Movement and the Minoan Brotherhood are historically inaccurate and more modern than ancient.