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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 -
18Th Century. France and Venice
18th century. France and Venice Antoine Watteau (1684 – 1721) was a French painter whose brief career spurred the revival of interest in colour and movement, as seen in the tradition of Correggio and Rubens. He revitalised the waning Baroque style, shifting it to the less severe, more naturalistic, less formally classical, Rococo. Watteau is credited with inventing the genre of fêtes galantes, scenes of bucolic and idyllic charm, suffused with a theatrical air. Some of his best known subjects were drawn from the world of Italian comedy and ballet. The Love Song c1717 The Embarcation for Cythera 1717 The Embarkation for Cythera portrays a "fête galante"; an amorous celebration or party enjoyed by the aristocracy of France during the Régence after the death of Louis XIV, which is generally seen as a period of dissipation and pleasure, and peace, after the sombre last years of the previous reign. The work celebrates love, with many cupids flying around the couples and pushing them closer together, as well as the statue of Venus.There are three pairs of lovers in the foreground. While the couple on the right by the statue are still engaged in their passionate tryst, another couple rises to follow a third pair down the hill, although the woman of the third pair glances back fondly at the goddess’s sacred grove. At the foot of the hill, several more happy couples are preparing to board the golden boat at the left. With its light and wispy brushstrokes, the hazy landscape in the background does not give any clues about the season, or whether it is dawn or dusk. -
How to Show Pictures to Children
NYPL RESEARCH LIBRARIES 3 3433 07099049 8 AA r ^j\f YOTlK U"Bl""B.Irf T\LDtfro&i^ rrgaoMboo {*toi bj Br»ua, Clcm.iit i t'u. JuUa Andrew i Sun, So. THE HOLY NIGHT (DETAIL) Dresden Gallery HOW TO SHOW PICTURES TO CHILDREN ~h BY V ESTELLE M. HTJHLL AUTHOR OF THE RIVERSU)E ABT SERIES BOSTON NEW YORK CHICAGO HOUGHTON MIFFLIN COMPANY cW^. •p R KQNS COPYRIGHT, 1914, BY ESTELLE M. HURLL • • • • • • C • • • • *» • • • • • • ' • • • • • • • - • • • '.:•. CAMBKIUGK . MASSACHUSETTS U . S . A To J. C. H. WHOSE HELP, ENCOURAGEMENT AND CRITICISM HAVE MADE THE IMPOSSIBLE POSSIBLE ,001 *5»J '* i ,>JJ1 ' ») > 1 1 > B » ,' • i J O \» ^1 ) ) > ) 1 ) 1' T 1 , 1 »• ) >»»<>, > . » ^ 1 »>>«»» JJ >j' »' PREFACE The first suggestion for this little book came from Miss Elizabeth MeCracken, editor of Home Progress, whose enthusiasm and sympathy have been a con- stant inspiration. In her wide correspondence with mothers in regard to the training of children, she dis- covered the need of a book giving practical advice about pictures for children. A similar report came from the libraries, where the same need had long been noticed at the consulting-desks. The call from art educators and pubhc school teachers has been equally urgent. As the custom of hanging pictures in the schoolroom has become almost universal, the demand has arisen for helpful information in matters of art. I am especially grateful to Mr. Henry Turner Bailey, editor of the School Arts Magazine, and Mr. James Frederick Hopkins, director of the Massachusetts Normal Art School, for their words of encouragement and counsel. -
Ministration-Modern Question
THE AGES DIGITAL LIBRARY REFERENCE CYCLOPEDIA of BIBLICAL, THEOLOGICAL and ECCLESIASTICAL LITERATURE Ministration - Modern Question by James Strong & John McClintock To the Students of the Words, Works and Ways of God: Welcome to the AGES Digital Library. We trust your experience with this and other volumes in the Library fulfills our motto and vision which is our commitment to you: MAKING THE WORDS OF THE WISE AVAILABLE TO ALL — INEXPENSIVELY. AGES Software Rio, WI USA Version 1.0 © 2000 2 Ministration (diakoni>a, leitourgi>a, both usually rendered “ministry”), the period during which an office is administered (<420123>Luke 1:23). The law of Moses is called the “ministration of death” and “condemnation.” It convinces men of .sin, the penalty for which is eternal death; and to this they are already condemned. The Gospel is the “ministration of the Spirit” that “giveth life;” it proceeds from the Holy Ghost; is confirmed and applied by him; and by means of it he conveys life, and all spiritual graces and benefits, to the souls of men (<470307>2 Corinthians 3:7, 8). The term is also used for the distribution of alms (<440601>Acts 6:1; <470913>2 Corinthians 9:13). Ministry (hd;wob[}, work; trev;, attendance,; leitourgi>a, waiting upon; diakoni>a, service). Besides the ordinary applications of this term to the common affairs of life, it is specially used in the Scriptures, chiefly those of the New Testament, to denote a devotion to the interests of God’s cause, and, in a technical sense, the work of advancing the Redeemer’s kingdom. -
Art History Timeline Art Periods Characteristics Chief Artists Historical Events Movements Major Works
Art History Timeline Art Periods Characteristics Chief Artists Historical Events Movements Major Works Stone Age Cave painting Lascaux Cave Painting 10,000-8,000 BC Ice Age ends (30,000–2500BC) Fertility goddesses Hall of Bulls 8000-2500 BC Stone Age, permanent settlements Paleo/Meso/ Megalithic structures Venus of Willendorf 3000-2200 BC Stonehenge Neolithic Mesopotamian Warrior art Akkadian Ruler 3400 BC Sumerians invent cuneiform writing (3500–539 BC) Narration in stone relief Ishtar Gate 2332-2150 BC Akkadians assumed divine attributes Citadels 2000 BC Abraham founds monotheism Persia Ziggurats Standard of Ur 2600 (BM) 1780 BC Hammurabi writes his law code Babylon Fertile crescent Stele of Vultures 2600 (L) 1496 BC Ten Commandments Mt. Sinai Turkey Votive Statuettes Bull Harp 2600 (BM) 1020-930 BC Kingdom of Israel (United) Iraq Gods & Goddesses Victory Stele Naram-Sin 2254(L) 980 BC Iliad and the Odyssey Iran Cradle of civilization Gudea 2100(L) 653 BC Rise of Persian Empire Syria Cuneiforms Stele of Hammurabi 1780(L) 586 BC First Temple (Solomon) in Jerusalem destroyed by Babylonians Registers Statue Queen Napir-Asu 1350(L) 539 BC Fall of Babylonian Empire –Jews Freed Seals Lamassu 750(L) Ashurbanipal Hunting Lions 640(BM) Persepolis 521-465 BC Egyptian Afterlife focus Palette of King Narmer 3100 BC King Narmer unites Upper/Lower Egypt (3500-30 BC) Pyramids Imhotep Hatshepsut 3100 BC First Dynasty of Egypt Tomb painting Ahmen Re of Karnak 3000 BC Papyrus by Egyptians Predynastic Great Pyramids Bust of Nefertiti 2700 BC Old Kingdom -
University of Florida Thesis Or Dissertation Formatting
THE ART OF BECOMING: MIMICRY, AMBIVALENCE, AND ORIENTALISM IN THE WORK OF HENRY OSSAWA TANNER AND HILDA RIX By LAURA M. WINN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2018 © 2018 Laura M. Winn To my first teachers, my Mom and Dad, for giving me the lifelong gift and love for learning ACKNOWLEDGMENTS There are many people that helped in facilitating and supporting the long and challenging journey of researching and writing this dissertation. I am grateful to all of them. None of this would have been possible without the guidance of my committee members Ashley Jones, Brigitte Weltman-Aron, Elisabeth Fraser, and Nika Elder. Thank you for being so generous with your time, expertise, and thoughtful suggestions. I am especially indebted to my advisor and the chair of the committee, Melissa Hyde, for her willingness to adopt a Classicist interested in gender studies and introduce me to the importance–and fun–of dix-huitième scholarship. Melissa worked through multiple iterations and drafts of this project to clarify and refine my arguments, helping to bring a greater coherence and new voice to the exceptional lives and artistic contributions of Henry Ossawa Tanner and Hilda Rix Nicholas. Through every phase of my graduate education at Florida she has been a vital resource and mentor. I feel incredibility fortunate to have been her student. Crystalizing ideas into a finished dissertation often felt like an insurmountable challenge. I greatly benefited from the support, feedback, and experience of my “girl gang” at Florida. -
Guide for Educators
FRENCH ART At The SAINT LOUIS ART MUSEUM Guide for Educators © 2017 University of Missouri – St. Louis French Art at the Saint Louis Art Museum Guide for Educators Table of Contents Introduction to the Guide . ii Acknowledgments . iii The Middle Ages . 1 The Renaissance . 12 The Seventeenth Century . 25 The Eighteenth Century . 40 The Nineteenth Century . 80 The Twentieth Century . 156 The Twenty-First Century . 194 Suggested Activities . 197 © 2017 University of Missouri – St. Louis i French Art at the Saint Louis Art Museum Guide for Educators Introduction to the Guide for Educators French Art at the Saint Louis Art Museum is a learning resource developed by the University of Missouri-St. Louis, with assistance from the Saint Louis Art Museum and the Consulate of France in Chicago. This Guide is intended to assist the educator in a course of art history or French as a second language. It contains useful information for introducing students to French art, in a cultural and historical context. Each page of the Guide includes texts which are found on the website of the Learning Resource, http://frenchart.umsl.edu. In that site, you can hear the French texts by clicking on the audiophone icon: The texts give a short overview of each work, followed by a comment on The Historical Moment, The Artistic Genre, and The Artist (if he or she is known). In addition, the Guide offers several questions for the educator to ask students, in a verbal discussion or written composition. Below the small images in the Guide, you will find supplementary information that is not found in the website: the material of composition (for example, limestone or oil on canvas), the dimensions of the work, and the accession number (for example, 3:1935) in the Saint Louis Art Museum. -
Arth 1306 • History of Art Ii • Summer I, 2018
ARTH 1306 HISTORY OF ART II SUMMER I, 2018 Course Information Course Title: History of Art II Course prefix and number: ARTH 1306-001; CRN 33014 Course meeting location: FFA 458 Course meeting times: MTWR 9:20-11:50 Required Course Materials Text: Gardner’s Art Through the Ages: The Western Perspective (Fifteenth Edition), VOLUME II by Fred S. Kleiner. Available @ the UTEP Bookstore or @ the publisher, cengagebrain.com. A spiral bound notebook or recording device. Computers are not to be used during lectures. Instructor Contact Information Instructor's name: Anne Perry Instructor's office #: FFA 354 Instructor's office hours: By appointment Instructor's phone #: 747-8744 Instructor’s Email: [email protected] (by far the best way to reach me) Instructor Introduction Professor Perry has a long-standing passion for the visual arts. She studied art history at the University of New Mexico, where she received her M. A. in Pre-Columbian art. She has taught a variety of art history courses and Art Appreciation at the University of Nebraska-Lincoln and here at UTEP. She and her husband and daughter have lived in El Paso for many years. Course Description This survey lecture course, as a continuation of ARTH 1305, is designed to expose the student to major works of western art over a broad span of history from c. 1300 to the present. Our interests will turn to the artist, the creator of the work; style, the characteristics of a work peculiar to its time, culture, place, and creator; technique, or how the work was made; as well as iconography, or the study of meaning, symbolism and messages carried in a work of art. -
Matthew W. Dickie, Magic and Magicians in the Greco-Roman World
MAGIC AND MAGICIANS IN THE GRECO- ROMAN WORLD This absorbing work assembles an extraordinary range of evidence for the existence of sorcerers and sorceresses in the ancient world, and addresses the question of their identities and social origins. From Greece in the fifth century BC, through Rome and Italy, to the Christian Roman Empire as far as the late seventh century AD, Professor Dickie shows the development of the concept of magic and the social and legal constraints placed on those seen as magicians. The book provides a fascinating insight into the inaccessible margins of Greco- Roman life, exploring a world of wandering holy men and women, conjurors and wonder-workers, prostitutes, procuresses, charioteers and theatrical performers. Compelling for its clarity and detail, this study is an indispensable resource for the study of ancient magic and society. Matthew W.Dickie teaches at the University of Illinois at Chicago. He has written on envy and the Evil Eye, on the learned magician, on ancient erotic magic, and on the interpretation of ancient magical texts. MAGIC AND MAGICIANS IN THE GRECO-ROMAN WORLD Matthew W.Dickie LONDON AND NEW YORK First published in hardback 2001 by Routledge First published in paperback 2003 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 2001, 2003 Matthew W.Dickie All rights reserved. -
Expression of Human Emotion As an Aspect of Timelessness in Single Figure Painting
Expression of Human Emotion as an Aspect of Timelessness in Single Figure Painting Mauree Grace A Thesis submitted for the Degree of Masters of Fine Arts College of Fine Arts University of New South Wales March 2009 COPYRIGHT STATEMENT 'I hereby grant the University of New South Wales or its agents the right to archiveand to make availablemy thesis or dissertationin whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral thesesonly). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digitalcopy of my thesisor dissertation.' Date a-r. h, P.7 AUTHENTICITY STATEMENT 'I certify that the Library deposit digital copy is a direct equivalentof the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversionto digital format.' sisned ..''..U'1*cUl*^.'. Date Jr. ORIGINALITY STATEMENT 'I hereby declarethat this submissionis my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educatlonalinstitution, except where due acknowledgementis made in the thesis.Any contributionmade to the research by others, with whom I have worked at UNSW or elsewhere,is explicitlyacknowledged in the thesis. -
THEME: HUMANISM and the CLASSICAL TRADITION
THEME: HUMANISM and the CLASSICAL TRADITION FOCUS: Michelangelo’s Moses, Michelangelo’s Sistine Ceiling, Michelangelo’s Last Judgment, Michelangelo’s Medici Chapel ONLINE ASSIGNMENT: http://smarthistory.khanacademy.org/michelangelo- moses.html ONLINE ASSIGNMENT: http://smarthistory.khanacademy.org/sistine-chapel- ceiling.html DATE DUE: ___________ ONLINE ASSIGNMENT: http://smarthistory.khanacademy.org/last-judgment-sistine-chapel.html READING ASSIGNMENT: KLEINER, pp. 611-617 POWERPOINT: HUMANISM and the CLASSICAL TRADITION: ITALIAN HIGH RENAISSANCE (Michelangelo) 1. Word of Michelangelo’s David reached Pope ______________________ in Rome, and he asked Michelangelo to come to Rome to work for him. The first work the pope commissioned from Michelangelo was to sculpt his _______________________. 2. In the story from the Old Testament book of Exodus, Moses leaves the Israelites (who he has just delivered from slavery in Egypt) to go to the top of Mt. Sinai. When he returns he finds that they have constructed a ____________________________ to worship and make sacrifices to- they have, in other words, been acting like the Egyptians and worshipping a pagan idol. 3. In what ways visually does the statue of Moses by Michelangelo convey the patriarch’s state of mind upon encountering the unfaithful Israelites? 4. On the ceiling of the Sistine Chapel, a long sequence of narrative panels described the creation, as recorded in Genesis, runs along the crown of the vault, from God’s Separation of Light and Darkness (above the altar) to _______________________________ (nearest the entrance to the chapel). Thus, as viewers enter the chapel, look up, and walk toward the altar, they review, in reverse order, the history of the fall of mankind. -
Improving the Teaching of Art Appreciation, Research And
REPOR TRESUMES ED 011 063 24 IMPROVING THE TEACHING OFART APPRECIATION, RESEARCH AND DEVELOPMENT TEAM FOR THEIMPROVEMENT OF TEACHING ART 'APPRECIATION IN THESECONDARY SCHOOLS. BY- ECKER, DAVID W. OHIO STATE UNIV., COLUMBUS,RESEARCH FOUNDATION REPORT NUMBER CRP-V-006 PUB DATE NOV 66 REFORT,NUMBER BR-5-1368 CONTRACT °EC-5-10-308 EDRS PRICE MF-$0.54 HC-$14.16 354P. DESCRIPTORS- *ART APPRECIATION,*SECONDARY SCHOOLS, RESEARCH PROJECTS, *TEACHING METHODS,*DEVELOPMENTAL PROGRAMS, ART EDUCATION, *INSTRUCTIONALIMPROVEMENT, COLUMBUS IN THE SUMMER OF 1965, A RESEARCHAND DEVELOPMENT TEAM WAS ASSEMBLED AT OHIO STATEUNIVERSITY TO CONSIDER THE PROBLEM OF IMPROVING INSTRUCTIONIN ART APPRECIATION IN THE SECONDARY SCHOOLS. THE OBJECTIVESWERE (1) TO PRODUCE NOT LESS THAN EIGHT CORRELATEDSTUDIES FOCUSED ON SOME OF THE CONCEPTUAL AND OPERATIONALPROBLEMS INVOLVED IN FUTURE RESEARCH AND DEVELOPMENTACTIVITIES, AND (2) TO EVALUATE THE -UTILITY AND PRODUCTIVITY OFSHORT-TERM RESEARCH IN CONFRONYING THE DEVELOPMENTAL FROBLEMS.'ONEJUDGE EVALUATED THE TEAM'S WORK -IN- PROGRESS,AND THREE JUDGES EVALUATED THE COMPLETED STUDIES. ON THEBASIS OF THESE FORMAL EVALUATIONS (INCLUDED IN THE REPORT) AND THEINFORMAL CRITICISM OF 35 MEMBERS OF THE INSTITUTE FORADVANCED STUDY IN ART APPRECIATION, OHIO STATE UNIVERSITY,SUMMER 1966, IT APPEARED THAT THE RESEARCH AND DEVELOPMENTTEAM SUCCESSFULLY DEALT WITH THE PROBLEMS IT SET OUT TOINVESTIGATE. THE DISCUSSIONS INCLUDED IN THE REPORT WERE (1)A HISTORY OF THE TEACHING OF ART APPRECIATION IN PUBLIC SCHOOLS,(2) ART APPRECIATION AND THE ADOLESCENT MYSTIQUE,(3) VERBAL OPERATIONS IN CLASSROOM INSTRUCTION, (5) THE WORK OF ARTAND THE OBJECT OF APPRECIATION,(6) ,THE WORK OF ART AND THE TEXTTHAT ACCOMPANIES IT, 01 FOUR FUNCTIONSFOR AN ART TEACHER, AND (8) EVALUATIONS OF THOSE SEVENSTUDIES.