A.P. Art History Simplified Timeline Through 1900 Note: These Are Approximate Dates
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Gods and Heroes: the Influence of the Classical World on Art in the 17Th & 18Th Centuries
12/09/2017 Cycladic Figure c 2500 BC Minoan Bull Leaper c 1500 BC Gods and Heroes: the Influence of the Classical World on Art in the 17th & 18th centuries Sophia Schliemann wearing “Helen’s Jewellery” Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Heracles from the Parthenon Paris and Helen krater c 700 BC Roman copy of Hellenistic bust of Homer Small bronze statue of Alexander the Great c 100 BC Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Judgement of Paris from Etruria c 550 BC Tiberius sword hilt showing Augustus as Jupiter Arrival of Aeneas in Italy Blacas Cameo showing Augustus with aegis breastplate Augustus of Prima Porta c 25 AD Dr William Sterling (discovered 1863) Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk 1 12/09/2017 Romulus and Remus on the Franks Casket c 700 AD Siege of Jerusalem from the Franks Casket Mantegna Triumph of Caesar Mantua c 1490 Très Riches Heures du Duc de Berry c 1410 – tapestry of Trojan War Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk The Colosseum Rome The Parthenon Athens The Pantheon Rome Artist’s Impression of the Mausoleum of Halicarnassus showing surviving sculpture Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Hera and Zeus on the Parthenon Frieze in the British Museum Hermes, Dionysus, Demeter and Ares on the Parthenon Frieze Dr William Sterling Dr William Sterling www.williamsterling.co.uk -
Art 258: Ancient and Medieval Art Spring 2016 Sched#20203
Art 258: Ancient and Medieval Art Spring 2016 Sched#20203 Dr. Woods: Office: Art 559; e-mail: [email protected] Office Hours: Monday and Friday 8:00-8:50 am Course Time and Location: MWF 10:00 – 10:50 HH221 Course Overview Art 258 is an introduction to western art from the earliest cave paintings through the age of Gothic Cathedrals. Sculpture, painting, architecture and crafts will be analyzed from an interdisciplinary perspective, for what they reveal about the religion, mythology, history, politics and social context of the periods in which they were created. Student Learning Outcomes Students will learn to recognize and identify all monuments on the syllabus, and to contextualize and interpret art as the product of specific historical, political, social and economic circumstances. Students will understand the general characteristics of each historical or stylistic period, and the differences and similarities between cultures and periods. The paper assignment will develop students’ skills in visual analysis, critical thinking and written communication. This is an Explorations course in the Humanities and Fine Arts. Completing this course will help you to do the following in greater depth: 1) analyze written, visual, or performed texts in the humanities and fine arts with sensitivity to their diverse cultural contexts and historical moments; 2) describe various aesthetic and other value systems and the ways they are communicated across time and cultures; 3) identify issues in the humanities that have personal and global relevance; 4) demonstrate the ability to approach complex problems and ask complex questions drawing upon knowledge of the humanities. Course Materials Text: F. -
Installation Art in India: Concepts and Roots
[Aaftab *, Vol.4 (Iss.10): October, 2016] ISSN- 2350-0530(O) ISSN- 2394-3629(P) IF: 4.321 (CosmosImpactFactor), 2.532 (I2OR) Arts INSTALLATION ART IN INDIA: CONCEPTS AND ROOTS Mohsina Aaftab *1 *1 Research Scholar, Department of Fine Arts, A.M.U., Aligarh, INDIA DOI: 10.5281/zenodo.164831 ABSTRACT Present study focuses on the new media Installation Art in India, its present scenario, and backgrounds. Essentially installation art has taken its heritage from conceptual art, which came into prominence in 1970s, when the concept or idea was prominent – when an artist uses a conceptual form of art which means that all of the arrangement and conclusion are made previously and the implementation is an obligatory concern. So, spontaneously idea became a machine that makes the art. An idea suddenly pops in his mind and he just implemented it, in his very own way. This kind of art does not narrow itself to gallery spaces and can refer to any materials intervention in everyday public or private spaces. After India became independent, art began to change here. considerately several movements and group bounced up all over the country headed by ambitious young artists with vision of bringing modern art to India. Now the art of India is totally changed. Contemporaries are not bound to use paper and canvas, wall or any other art surfaces. They are not bound to make mythological paintings or sculptures but they are free to do anything, they are free to use any medium, material and space they want. After a European artist Marcel Duchamp’s “ready-mades artist” started exploring the margin of art, trying to eliminate the contrast between art and life. -
AP Art History Unit Sheet #21 Romanticism, Realism, and Photography
AP Art History Unit Sheet #21 Romanticism, Realism, and Photography Works of Art Artist Medium Date Page # 27‐1: Napoleon at the Plague House at Jaffa Gros Painting 1804 754 27‐2: Coronation of Napoleon David Painting 1805‐1808 757 27‐4: Pauline Borghese as Venus Canova Sculpture 1808 759 27‐6: Apotheosis of Homer Ingres Painting 1827 761 27‐7: Grande Odalisque Ingres Painting 1814 761 27‐8: The Nightmare Fuseli Painting 1781 762 27‐9: Ancient of Days Blake Painting 1794 763 27‐10: The Sleep of Reason Produces Monsters Goya Painting 1798 763 27‐11: Third of May, 1808 Goya Painting 1814‐1815 764 27‐13: The Raft of the Medusa Gericault Painting 1819 765 27‐16: Liberty Leading the People Delacrois Painting 1830 768 27‐19: Abbey in the Oak Forest Friedrich Painting 1810 771 27‐21: The Haywain Constable Painting 1821 772 27‐22: The Slave Ship Turner Painting 1840 773 27‐23: The Oxbow ColePainting1836 773 27‐26: The Stone Breakers Courbet Painting 1849 775 27‐27: Burial at Ornans Courbet Painting 1849 776 27‐28: The Gleaners Millet Painting 1857 777 27‐30: Third Class Carriage Daumier Painting 1862 779 27‐31: The Horse Fair Bonheur Painting 1853‐1855 780 27‐32: Le Dejeauner sure l’herbe Manet Painting 1863 781 27‐33: Olympia Manet Painting 1863 781 27‐35: Veteran in a New Field Homer Painting 1865 783 27‐36: The Gross Clinic Eakins Painting 1875 783 27‐37: The Daughters of Edward Darley Boit Sargent Painting 1882 784 27‐38: The Thankful Poor Tanner Painting 1894 785 27‐40: Ophelia Millais Painting 1852 786 27‐43: House of Parliament, London Pugin/ Barry Architecture 1835 788 27‐44: Royal Pavilion, Brighton Nash Architecture 1815‐1818 789 27‐45: Paris Opera Garnier Architecture 1861‐1874 789 27‐48: Still Life in Studio Daguerre Photography 1837 792 27‐51: Nadar Raising Photography to the Height of Art Daumier Lithograph 1862 794 27‐53: A Harvest of Death, Gettysburg, Pennsylvania O’Sullivan Photography 1863 795 27‐54: Horse Galloping Muybridge Calotype 1878 796 CONTEXT Europe and France 1. -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
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. -
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 -
Janson. History of Art. Chapter 16: The
16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists. -
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. -
Market Values in Eighteenth-Century Rome
Market values in eighteenth-century Rome Review of: The Art Market in Rome in the Eighteenth Century: A Study in the Social History of Art, edited by Paolo Coen, Leiden and Boston: Brill, 2018 [Studies in the History of Collecting and Art Markets, vol. 5], xii + 234 pp., 80 colour illus., €116/$134 hdbk, ISBN 978-90-04-33699-5. Jeffrey Collins Anyone who doubts that a society’s art market reveals its underlying values need only consider the case of Inigo Philbrick, the high-flying young dealer who sold investors overlapping shares of the same blue-chip contemporary works and who was recently apprehended in Vanuatu. The present volume boasts no one quite so colourful, though it too concerns a moment in which the business side of art acquired new prominence. Based on an international congress held at Rome’s Palazzo Barberini, the anthology’s ten chapters consider diverse facets of art’s production, circulation, and recirculation in early modern Rome, unfortunately not all centred on the time and place announced in the title. This is a limitation in a study of art markets, which are typically localized and responsive to shifting conditions. While less focused than one would wish, the collection nonetheless illuminates a key phase in the market’s development while contextualizing our own age of glossy magazines, glamorous fairs, ‘specullectors’, and illicit trafficking of cultural property. Both symposium and anthology reflect the efforts of Paolo Coen, professor of the history of art at the Università degli Studi di Teramo, to bring to Rome something of the economic perspective long established in studies of the seventeenth-century Netherlands. -
Terms and Facts- Hierarchical Scale
Terms and facts- Hierarchical scale From the Prehistoric and Neolithic- Post and Lintel, Megalith, tumulus, henge From Mesopotamia- The Code of Hammurabi, Shamash, Lamassu, Ziggurat, load bearing architecture, The Sumerians, the Akkadians, the Assyrians, the Babylonians, Stele or Stela From Minoa- Labrys, The myth of King Minos and the Minotaur From Mycenae- Corbelled vaults and domes, repousse, Tholos, Megaron, krater From Ancient Egypt- Ben-ben, mastaba, Imhotep, Ma’at, Canon (of artistic laws), cartouche, Canopic jars, Shabti or ushabti, the imagery of nine in connection to the pharaoh, the Amarna Period From Ancient Greece- Polykleitos, Humanism, contrapposto, Exekias, kouros and Kore, archaic smile, Praxiteles, some Greek mythology-especially the main gods and goddesses, meander (key design) Know the seven steps to lost wax casting Know the basic architecture of a Greek Temple-peristyle, the three column orders, (Doric, Ionic, Corinthian), stylobate, cella, shaft, caryatids, pediment, capital The two styles of Greek vase painting-black figure and red figure-the basic differences in look You should look up exam one of these myths and know the basic story or the main story about the character listed: Prometheus and Fire Apollo and Daphne Pygmalion and Galatea Niobe Persephone and Hades Pandora Tantalus-Son of Zeus The Danaides Alcyone and Ceyx Idas and Marpessa The Fall of Icarus Theseus and the Minotaur Perseus and the Medusa Jason and Medea Hercules and the Stymphalian Birds Chapter 2.9 Sculpture PART 2 MEDIA AND PROCESSES Seven steps in the lost-wax casting process Build and armature, sculpt the piece (clay), cover with ½ “ layer of wax, cover the entire piece with debris mixture, heat the entire work to melt out the wax through pre-drilled hole, pour the molten metal into the work through pre-drilled holes, break away the debris layer, clean and polishGateways to Art: Understanding the Visual Arts, Debra J. -
Conceptual Art: a Critical Anthology
Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R.