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2007 Newsletter
Spring 2007 Collecting China Interdisciplinary symposium expands dialog on Chinese art objects The Newsletter of the University of Delaware Department of Art History 1 Contents Spring 2007 Editor in Chief and Photo Editor: From the Chair From the Chair | 3 Undergraduate Student Linda Pellecchia News | 15 Titles Editor: David M. Stone No doubt, you’ve noticed that the Art History newsletter has changed its Art History Club | 15 Art Director: Don Shenkle look and now has a name, Insight. The department, launched more than Undergraduate Awards | 15 Editorial Coordinator: forty years ago, has fl ourished and Insight allows us to spread the news Connee McKinney of our extraordinary record of accomplishments. Some news builds on Secretarial Assistance: Eileen Larson, traditional strengths. Other items refl ect exciting new directions. Our Deb Morris, Tina Trimble focus on American art will expand next year with the arrival of a new Graduate Student News | 16 “Collecting ‘China’” — Insight is produced by the Department colleague in the history of African American art and another in the 19th An International Gem | 4 Graduate Awards | 16 of Art History as a service to alumni and 20th-century art of the United States. Our curriculum has, on the Graduate Student News | 16 and friends of the Department. We are other hand, expanded globally beyond America and Europe. We now Graduate Degrees Granted | 17 always pleased to receive your opin- teach the arts and architecture of Africa, Asia, and Latin America. Art News from Alumni | 18 ions and ideas. Please contact Eileen History undergraduate and graduate students have garnered prestigious Larson, Old College 318, University of grants and awards. -
Jacques-Louis David
Jacques-Louis David THE FAREWELL OF TELEMACHUS AND EUCHARIS Jacques-Louis David THE FAREWELL OF TELEMACHUS AND EUCHARIS Dorothy Johnson GETTY MUSEUM STUDIES ON ART Los ANGELES For my parents, Alice and John Winter, and for Johnny Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Jacques-Louis David (French, 1748 — 1825). The Farewell of Telemachus and Eucharis, 1818 Benedicte Gilman, Editor (detail). Oil on canvas, 87.2 x 103 cm (34% x 40/2 in.). Elizabeth Burke Kahn, Production Coordinator Los Angeles, The J. Paul Getty Museum (87.PA.27). Jeffrey Cohen, Designer Lou Meluso, Photographer Frontispiece: (Getty objects, 87.PA.27, 86.PA.740) Jacques-Louis David. Self-Portrait, 1794. Oil on canvas, 81 x 64 cm (31/8 x 25/4 in.). Paris, © 1997 The J. Paul Getty Museum Musee du Louvre (3705). © Photo R.M.N. 17985 Pacific Coast Highway Malibu, California 90265-5799 All works of art are reproduced (and photographs Mailing address: provided) courtesy of the owners, unless otherwise P.O. Box 2112 indicated. Santa Monica, California 90407-2112 Typography by G&S Typesetters, Inc., Library of Congress Austin, Texas Cataloging-in-Publication Data Printed by C & C Offset Printing Co., Ltd., Hong Kong Johnson, Dorothy. Jacques-Louis David, the Farewell of Telemachus and Eucharis / Dorothy Johnson, p. cm.—(Getty Museum studies on art) Includes bibliographical references (p. — ). ISBN 0-89236-236-7 i. David, Jacques Louis, 1748 — 1825. Farewell of Telemachus and Eucharis. 2. David, Jacques Louis, 1748-1825 Criticism and interpretation. 3. Telemachus (Greek mythology)—Art. 4. Eucharis (Greek mythology)—Art. I. Title. -
Catalonian Architectural Identity
Catalan Identity as Expressed Through Architecture Devon G. Shifflett HIST 348-01: The History of Spain November 18, 2020 1 Catalonia (Catalunya) is an autonomous community in Spain with a unique culture and language developed over hundreds of years. This unique culture and language led to Catalans developing a concept of Catalan identity which encapsulates Catalonia’s history, cuisine, architecture, culture, and language. Catalan architects have developed distinctly Catalan styles of architecture to display Catalan identity in a public and physical setting; the resulting buildings serve as a physical embodiment of Catalan identity and signify spaces within Catalan cities as distinctly Catalonian. The major architectural movements that accomplish this are Modernisme, Noucentisme, and Postmodernism. These architectural movements have produced unique and beautiful buildings in Catalonia that serve as symbols for Catalan national unity. Catalonia’s long history, which spans thousands of years, contributes heavily to the development of Catalan identity and nationalism. Various Celtiberian tribes initially inhabited the region of Iberia that later became Catalonia.1 During the Second Punic War (218-201 BC), Rome began its conquest of the Iberian Peninsula, which was occupied by the Carthaginians and Celtiberians, and established significant colonies around the Pyrennees mountain range that eventually become Barcelona and Tarragona; it was during Roman rule that Christianity began to spread throughout Catalonia, which is an important facet of Catalan identity.2 Throughout the centuries following Roman rule, the Visigoths, Frankish, and Moorish peoples ruled Catalonia, with Moorish rule beginning to flounder in the tenth-century.3 Approximately the year 1060 marked the beginning of Catalan independence; throughout this period of independence, Catalonia was very prosperous and contributed heavily to the Reconquista.4 This period of independence did not last long, though, with Catalonia and Aragon's union beginning in 1 Thomas N. -
All at Sea: Romanticism in Géricault's Raft of the Medusa
All at Sea: Romanticism in Géricault's Raft of the Medusa Galven Keng Yue Lee All at sea. We – receptacles, tentacles Of ingestion and Assemblage. A mass of ever-dying, ever-living Vapid waves. All at sea. ~ Galven Keng Yue Lee Plate 1: Théodore Géricault, Raft of the Medusa, 1819, oil on canvas, 491 x 716 cm. Source: Musée du Louvre, Paris. Fair use is claimed for not-for-profit educational & scholarship purposes. Abstract Théodore Géricault’s painting, Raft of the Medusa, has long been regarded as a quintessentially Romantic painting. Yet it was unprecedented when it was exhibited at the 1819 Salon by its raw and direct appeal to the viewer’s 1 The ANU Undergraduate Research Journal emotions, and represented an early stage in French Romantic painting. In this paper, I argue that the painting was an original, logical outcome of the social and political turbulence that plagued French society in the early nineteenth century and which also impinged itself on the personal circumstances of Géricault’s life. It is through this general malaise and sense of crisis that the painting can not only be seen as an authentic product of its time, but also one that reflected the distinctly personal nature of the Romantic painting, through the intense personal involvement and identification of Géricault with its creation and subsequent legacy. Romanticism in Géricault’s Raft of the Medusa Théodore Géricault’s Raft of the Medusa is a stunning piece that strikes the viewer with its intense, emotional representations of hope and hopelessness. The pointless suffering of the denizens of the raft eradicate any pretensions to heroic achievement or tragic sacrifice; only the surging waves of the ocean respond without sympathy to their cries for salvation from a suffering which has only brought them to the pits of unheroic despair—drawing us within the vacant expression of the older man in the left foreground clutching onto the limp body of a younger male, possibly his son. -
Definition[Edit]
Romanesque architecture is an architectural style of medieval Europe characterized by semi-circular arches. There is no consensus for the beginning date of the Romanesque architecture, with proposals ranging from the 6th to the 10th century. It developed in the 12th century into the Gothic style, marked by pointed arches. Examples of Romanesque architecture can be found across the continent, making it the first pan-European architectural style since Imperial Roman Architecture. The Romanesque style in England is traditionally referred to as Norman architecture. Combining features of ancient Roman and Byzantine buildings and other local traditions, Romanesque architecture is known by its massive quality, thick walls, round arches, sturdy piers, groin vaults, large towers and decorative arcading. Each building has clearly defined forms, frequently of very regular, symmetrical plan; the overall appearance is one of simplicity when compared with the Gothic buildings that were to follow. The style can be identified right across Europe, despite regional characteristics and different materials. Many castles were built during this period, but they are greatly outnumbered by churches. The most significant are the great abbeychurches, many of which are still standing, more or less complete and frequently in use.[1] The enormous quantity of churches built in the Romanesque period was succeeded by the still busier period of Gothic architecture, which partly or entirely rebuilt most Romanesque churches in prosperous areas like England and Portugal. The largest groups of Romanesque survivors are in areas that were less prosperous in subsequent periods, including parts of southern France, northern Spain and rural Italy. Survivals of unfortified Romanesque secular houses and palaces, and the domestic quarters of monasteries are far rarer, but these used and adapted the features found in church buildings, on a domestic scale. -
Carolingian and Romanesque Architecture 800 to 1200
KENNETH JOHN CONANT CAROLINGIAN AND ROMANESQUE ARCHITECTURE 800 TO 1200 PUBLISHED BY PENGUIN BOOKS CONTENTS LIST OF FIGURES » LIST OF RESTORATION STUDIES XV LIST OF PLATES xvu FOREWORD XXV MAPS xxvii Part One The Pre-Romanesque and Proto-Romanesque Styles 1. THE PREPARATION FOR MEDIEVAL ARCHITECTURE I The Institutional Background i The Leaders - The Architectural Ambit - Monastidsm Primitive and Local Architectural Trends 4 The Persistence of Roman Architectural Ideas and Practice 6 The Transition from Roman to Early Medieval Architecture 7 2. THE CAROLINGIAN ROMANESQUE II Northern Architecture in the Reign of Charlemagne, 771-814 11 Church Architecture in the Northern Part of the Empire under the Later Carolingians 20 Germany - France 3. PRE-ROMANESQUE ARCHITECTURE IN THE NORTH, OUTSIDE THE EMPIRE 3° Ireland 30 Ninth- and Tenth-Century Architecture in Saxon England 32 Scandinavia 34 4. PROTO-ROMANESQUE ARCHITECTURE IN SOUTHERN EUROPE 42 The Asturian Style 42 The Mozarabic Style in Northern Spain 46 The Lombard Kingdom 52 The Byzantine Exarchate 53 Part Two The Earlier Romanesque Styles 5. THE 'FIRST ROMANESQUE* 57 Lombardy 57 Dalmatia 60 Catalonia and Andorra 61 vii CONTENTS The Kingdom of Aries 65 Germany 65 6. ROMANESQUE ARCHITECTURE IN GERMANY UNDER THE SAXON AND FRANCONIAN EMPERORS (936-II25) 67 The Ottomans 67 The Salian or Franconian Emperors 73 7. FRANCE: 900-1050 79 The Ambulatory 79 Burgundian Developments 80 The Spacious Wooden-Roofed Basilicas 87 Part Three The Mature Romanesque as Inter-Regional and International Architecture 8. THE GREAT CHURCHES OF THE PILGRIMAGE ROADS 91 The Preparation: General Considerations 91 St Martin at Tours 96 St-Martial at Limoges 97 Ste-Foi at Conques 98 St-Sernin at Toulouse and Pilgrimage Sculpture 98 Santiago de Compostela, Goal of the Pilgrimage 99 9. -
The Raft of the Medusa the Story of a Painting, the Painting of a Story
The Raft of the Medusa The story of a painting, the painting of a story Scheme of Work Suitable for KS4 pupils Written and Designed by David Herbert Drama and Education Consultant [email protected] [Image of The Raft of the Medusa available at <www.louvre.fr/en/oeuvre-notices/raft-medusa>] [For copyright reasons some visual images included in the original Resource Pack have been omitted here.] Contents Introduction..................................................................................p.3 Aims of the Scheme.....................................................................p.4 Tasks............................................................................................p.4 • The word “trapped” • Outline of story • Stages of Degeneration • Props • Lyrics to the song • News report Evaluation....................................................................................p.8 The Written Portfolio....................................................................p.9 Sources......................................................................................p.10 • The Raft of the Medusa story • Stages of Degeneration Portfolio Worksheets..................................................................p.13 • Drama Coursework – Stages of Degeneration • Storyboarding • Trapped evaluation Skills to allow students to explore in more depth.......................p.17 Reading List...............................................................................p.18 2 Introduction This scheme of work has been written and designed -
Wreck: Gericault and the Body in Pieces
Art Appreciation Lecture Series 2019 Being human: The figure in art Géricault’s The Raft of the Medusa Mark Ledbury 12 / 13 June 2019 Lecture summary: This lecture examines one of the great works of nineteenth-century Art, Géricault’s Raft of the Medusa, 200 years after the painting was first seen. It explores Gericault’s fascination with bodies, but also the political and cultural impact of a painting in its time and beyond. The wreck of the Medusa through incompetence and fear , the subsequent appalling suffering of the occupants of the Raft, caused scandal in the France of the recently restored Monarchy , and Gericault used both his fascination with human and animal bodies and his training in neo-classical studios to very powerful effect in a painting of enormous scale, ambition and effort. Slide list: 1. Théodore Géricault, The Raft of the Medusa, (Oil on canvas, 1817-19, 4,91 m. x 7,16 m, Paris: Louvre) 2. Horace Vernet, Portrait of Géricault, (Oil on Canvas, 1822 or 3, New York, Metropolitan Museum) 3. J-A-D Ingres, Grande Odalisque (1812-18, Oil on Canvas, Paris: Louvre) 4. A-L Girodet, Pygmalion (1818-19, Oil on Canvas, Paris: Louvre) 5. Achille Etna Michallon, The Death of Roland (oil on canvas, 1818, Paris: Louvre) 6. Géricault, Horse Studies,(Graphite on Paper, c.1812-14, Getty Museum, Los Angeles) 7. Géricault, Charging Chasseur, or An Officer of the Imperial Horse Guards Charging 1812, Oil on Canvas, Paris, Louvre 8. Géricault, Wounded Cuirassier leaving the Battle (1814, Oil on Canvas, Paris: Louvre) 9. -
Historical Introduction
HISTORICAL INTRODUCTION The arts of music, drama, and public discourse have both influenced and been influenced by the acoustics and architecture of their presentation environments. It is theorized that African music and dance evolved a highly complex rhythmic character due, in part, to its being performed outdoors-rather than the melodic line of early European music. Wallace Clement Sabine (1868–1919), an early pioneer in architectural acoustics, felt that the development of a tonal scale in Europe rather than in Africa could be ascribed to the differences in living environment. In Europe, prehistoric tribes sought shelter in caves and later constructed increasingly large and reverberant temples and churches. Gregorian chant grew out of the acoustical characteristics of the gothic cathedrals, and subsequently Baroque music was written to accommodate the churches of the time. In the latter half of the twentieth century both theater design and performing arts became technology driven, particularly with the invention of the electronic systems that made the film and television industries possible. With the development of computer programs capable of creating the look and sound of any environment, a work of art can now not only influence, but also define the space it occupies. 1.1 GREEK AND ROMAN PERIOD (650 bc - AD 400) Early Cultures The origin of music, beginning with some primeval song around an ancient campfire, is impossible to date. There is evidence (Sandars, 1968) to suggest that instruments existed as early as 13,000 bc. The understanding of music and consonance dates back at least to 3000 bc, when the Chinese philosopher Fohi wrote two monographs on the subject (Skudrzyk, 1954). -
A.P. Art History Simplified Timeline Through 1900 Note: These Are Approximate Dates
Marsha K. Russell 1 St. Andrew's Episcopal School, Austin, TX A.P. Art History Simplified Timeline through 1900 Note: These are approximate dates. Remember periods and styles overlap. Prehistory Paleolithic: up to about 10,000 BCE • Venus/Goddess of Willendorf • Lascaux Cave Paintings • Altamira Cave Paintings Neolithic in England: about 2,000 BCE • Stonehenge Mesopotamia/Near East (ignore time lapses) Sumerian: ~3500 - 2300 BCE • Standard of Ur • Ram offering stand • Bull-headed lyre • Bull holding a Vase • Ziggurats Akkadian: ~2300 - 2200 BCE • Victory Stele of Naram-Sin Neo Sumerian: ~2200 - 2000 BCE • Gudea statues Babylonian: ~1900 - 1600 BCE • Stele of Hammurabi Assyrian: ~900 - 600 BCE • Lamassu (Winged Human-Headed Bull) • Lion Hunt Bas Reliefs Egypt Predynastic: 3500 - 3000 BCE • Palette of Narmer Old Kingdom: ~3000 - 2200 BCE • Khafre • Menkaure and Khamerernebty • Seated Scribe • Ti Watching a Hippo Hunt • Prince Rahotep and his wife Nofret • Pyramid of King Djoser by Imhotep Middle Kingdom: ~2100 - 1600 BCE • Rock-cut tomb New Kingdom: ~1500 - 40 BCE (includes the Amarna Period 1355 – 1325 BCE) • Funerary Temple of Hatshepsut • Temple of Ramses II • Temple of Amen-Re at Karnak • Akhenaton • Akhenaton and His Family Marsha K. Russell 2 St. Andrew's Episcopal School, Austin, TX Aegean & Greece Minoan: ~2000 - 1500 BCE • Snake Goddess • Palace at Knossos • Dolphin Fresco • Toreador Fresco • Octopus Vase Mycenean: ~1500 - 1100 BCE • "Treasury of Atreus" with its corbelled vault • Repoussé masks • Lion Gate at Mycenae • Inlaid dagger -
Is There a Pre-Romanesque Style in Architecture'?
Having analysed the essential characteristics of the archi• Is There a Pre-Romanesque tecture of ćhe Christian West between the 8th and ćhe llth c ent«ry, the a u thor p t>ts foru'ard hi s c onviction t hat a Pre-Ro»>anesque expression is preceding the Romanesque Style in Architecture'? style. The distingt>ishing features of the Pre-Romanesque architecture are biwxiality, the absence of correspondence between the interior organization of space and that of the Dr. Vladimir P . Goss exterior u>all-surfaces, the presence of hidden inćerior t<nits undistinguishable from the outside, and spatial discontinui• Foll professor of M i chigan university, t y. The author enu»>eraćes and exarnines in d e tail t h e Ann Arbor examples from Dalmatia, Switzerland, Spain, England, and Moravia, but he finds tl>e Pre-Ro»>anesque traits parćially in the architecture of the Eastern Christianićy too. From his Original scientific paper pape>' e»>erges a picture of a s lon>, gradual and tortuous ćransition of the Medieval World from ićs childhood and youth to full maturity. As we all k n ow , t h e n a mes of m e d ieval ar t s t y les the way in c h ich the architect communicates his con• are rather arbitrary. But, while we more or less under• cepts to his public. Definitions of the Romenesque em• stand what we mean when we use the word » R omanes• phasizing the points brought up i n t h e fe w p r eceding q ue« o r » Gothic«, there does no t s eem t o b e m u c h lines have been forwarded by scholars such as Baum, a greement as t o t h e m e aning anđ scope -
Barcelona Abstracts
CATALONIA IN THE ROMANESQUE PERIOD Expansion in Twelfth Century Catalonia. Counties, Towns and the Church Maria Bonet Donato The Catalan territories experienced very significant territorial expansion and economic growth in the twelfth century. New institutions and new forms of government responded to these changes and boosted them. This can be seen in the redefinition of county power, the beginnings of urban governance and the introduction of new ecclesiastical organizations. In the early twelfth century, the Catalan counties were a mosaic of political powers while by the end of the century they were to some extent subject to the hegemony of the County of Barcelona, whose holder was the King of Aragon. As Count of Barcelona, Ramon Berenguer IV reinforced his leadership thanks to his marriage with the heiress to the kingdom of Aragon. Additionally, he became pre-eminent among other regional powers with the conquest and administration of the Southern lands from mid-century. From then on signs of population and economic growth become evident, manifesting themselves in the proliferation of villages, the development of cities, and an increase of artisanal, agricultural and commercial activity. As with the political situation, Barcelona lead the rise in commerce, although other towns prospered as regional centers. Social and economic developments called for a new organization of power, in order to guarantee peace, and favor commerce and military efficiency. The Count and his son, King Alfonso II, known as Alfonso the Chaste, claimed responsibility for these things, just as they did military leadership. However, in practice, they favored the deployment of other powers in the territories under their dominion, urban or ecclesiastical institutions as well as their own delegates.