Art Appreciation Name ______Final Presentation Project-SEE and CONNECT-200 Points
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Top Ten Most Influential People
Top Ten Most Influential People Samantha Wall Ten - Mansa Musa I ● Ruler of the Mali Empire (1312 - 1337) ● Controlled territories rich in copper and gold ● Brought back scholars and architects from his pilgrimage to Mecca who built mosque and universities ● Army around 100,000 men helped him double the territory of Mali (second in size to the Mongol Empire at that time) Mansa Musa is ten because I wasn’t convinced that he did much to influence those after him. Most only know him for being the richest man and giving gold to the poor. Nine - Leonardo Da Vinci (1452-1519) ● Italian polymath of the Renaissance ● Painted the Mona Lisa and The Last Supper ● Had groundbreaking studies on optics and perspective ● Fused science and art to create works that become part of humanity’s story ● He designed helicopter screw and things for flying machines Da Vinci is ninth because his work is still being studied today. Whether it‘s his paintings or his machine designs. He’s one of the most known painters of his time. Eight - Joan of Arc (1412-1431) ● Peasant girl living in medieval France ● Believed that God had chosen her to lead France to victory in its long-running war with England ● Joan was captured by Anglo-Burgundian forces, tried for witchcraft and heresy and burned at the stake ● Symbol of French unity and nationalism ● Known as the Maid of Orléans Joan of Arc is eight because she helped win the Hundred Years War. She was able to accomplish so much even though she was only nineteen. -
Reflection 56.2 Reflection 56.2 Spring 2015
Reflection 56.2 Reflection 56.2 Reflection Spring 2015 Reflection 56.2 Reflection 56.1 Copyright © 2014 Reflection, Gonzaga University All rights reserved. No portion of this magazine may be copied or in any ways reproduced without written consent of the editor and Gonzaga University. Views and opinions in Reflection are those of the individuals and do not necessarily represent the views of Gonzaga University. Reflection submissions are evaluated and selected anonymously. Reflection staff would like to thank everyone who participated in the literary and visual arts community on campus by submitting to the journal. Joanne Shiosaki and Jeffrey Dodd deserve our praise for facilitating an instructive and posiitive experience. Reflection 56.1 Editor // Katherine Charters Assistant Editor // Natalie Ochoa Editorial Assistants // Kaitlyn Anson, Rachel Clark, Zack Rosse, Sarah Taylor Poetry // Maria Mills Fiction // Kellie Malone Visual Art // Mariah Chavez Photography // Emily Luse Graphic Design // Matt Friedman Advisor // Jeff Dodd We are cups, constantly and quietly being filled. The trick is, knowing how to tip ourselves over and let the beautiful stuff out. Ray Bradbury TABLE OF CONTENTS Editorial Statement 1 Flash Fiction Contest Winners // David Boose 2 Vocation // Luke Janicki 3 Avoir l’air // Katie Schmarr 4 Reflection: Editing the Journal at its Inception // Monda Sherick Van Hollebecke 6 Chokecherries on Shepherd’s Butte // Monda Sherick Van Hollebecke 10 The Shark That Swam Through the Forest // Kellie Malone 11 Lazarus // Natalie -
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. -
Comparative Image Analysis in Visual Arts and Art Education
EURASIA Journal of Mathematics, Science and Technology Education ISSN: 1305-8223 (online) 1305-8215 (print) OPEN ACCESS 2017 13(11):7329-7338 DOI: 10.12973/ejmste/79605 Comparative Image Analysis in Visual Arts and Art Education Naciye Derin Isikoren 1*, Faruk Kalkan 1 1 European University of Lefke, N. CYPRUS Received 19 June 2017 ▪ Revised 15 September 2017 ▪ Accepted 8 October 2017 ABSTRACT In visual art education, researchers has to be aware that it is necessary to explore the position of an image, within the time period’s cultural, sociological, technological conditions that effect the image, in order to achieve a full understanding of that very image or visual composition. In that sense, setting a sample study that mirrors “how and under which effects a sign changes throughout time?” is worth investigating. The aim of this study is to explore the traces of symbolic existence of peripheral circumstances in a visual composition and as well as reflect that the composition is structured by these circumstances. In that sense, a brief review of the history of woman image has been chosen to set a sample study to search for the above mentioned dynamic. In order to trace the links in between meaning making and meaning reading processes, with the basic assumption that any sign’s meaning differs according to its position among surrounding signs “woman image” offers continuity of existence throughout history which constitutes the bases for a comparative research. Continuity, in comparative analysis of an image may constitute a solid base in order to increase the level of cognation of students in the field of visual arts. -
MF-Romanticism .Pdf
Europe and America, 1800 to 1870 1 Napoleonic Europe 1800-1815 2 3 Goals • Discuss Romanticism as an artistic style. Name some of its frequently occurring subject matter as well as its stylistic qualities. • Compare and contrast Neoclassicism and Romanticism. • Examine reasons for the broad range of subject matter, from portraits and landscape to mythology and history. • Discuss initial reaction by artists and the public to the new art medium known as photography 4 30.1 From Neoclassicism to Romanticism • Understand the philosophical and stylistic differences between Neoclassicism and Romanticism. • Examine the growing interest in the exotic, the erotic, the landscape, and fictional narrative as subject matter. • Understand the mixture of classical form and Romantic themes, and the debates about the nature of art in the 19th century. • Identify artists and architects of the period and their works. 5 Neoclassicism in Napoleonic France • Understand reasons why Neoclassicism remained the preferred style during the Napoleonic period • Recall Neoclassical artists of the Napoleonic period and how they served the Empire 6 Figure 30-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris. 7 Figure 29-23 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris. 8 Figure 30-3 PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842. 9 Figure 30-4 ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, 6’ 7” long. Galleria Borghese, Rome. 10 Foreshadowing Romanticism • Notice how David’s students retained Neoclassical features in their paintings • Realize that some of David’s students began to include subject matter and stylistic features that foreshadowed Romanticism 11 Figure 30-5 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. -
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 -
Key to the People and Art in Samuel F. B. Morse's Gallery of the Louvre
15 21 26 2 13 4 8 32 35 22 5 16 27 14 33 1 9 6 23 17 28 34 3 36 7 10 24 18 29 39 C 19 31 11 12 G 20 25 30 38 37 40 D A F E H B Key to the People and Art in Samuel F. B. Morse’s Gallery of the Louvre In an effort to educate his American audience, Samuel Morse published Descriptive Catalogue of the Pictures. Thirty-seven in Number, from the Most Celebrated Masters, Copied into the “Gallery of the Louvre” (New York, 1833). The updated version of Morse’s key to the pictures presented here reflects current scholarship. Although Morse never identified the people represented in his painting, this key includes the possible identities of some of them. Exiting the gallery are a woman and little girl dressed in provincial costumes, suggesting the broad appeal of the Louvre and the educational benefits it afforded. PEOPLE 19. Paolo Caliari, known as Veronese (1528–1588, Italian), Christ Carrying A. Samuel F. B. Morse the Cross B. Susan Walker Morse, daughter of Morse 20. Leonardo da Vinci (1452–1519, Italian), Mona Lisa C. James Fenimore Cooper, author and friend of Morse 21. Antonio Allegri, known as Correggio (c. 1489?–1534, Italian), Mystic D. Susan DeLancy Fenimore Cooper Marriage of St. Catherine of Alexandria E. Susan Fenimore Cooper, daughter of James and Susan DeLancy 22. Peter Paul Rubens (1577–1640, Flemish), Lot and His Family Fleeing Fenimore Cooper Sodom F. Richard W. Habersham, artist and Morse’s roommate in Paris 23. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Touching the Void: The museological implications of theft on public art collections Jillian Seaton Ph.D. University of Edinburgh 2014 Abstract Of central importance to this thesis is the way security measures contradict the process through which museums have been seeking to divest themselves of theoretical hierarchies and value judgments in recent years. A context for investigation is established that considers how a perceptible increase in art theft, complicated by the escalating value of individual objects and the proliferation of museums as represented by a rise in attendance figures has produced a climate of vulnerability for arts collections around the world. In response, museums are installing unprecedented levels of security that are having a significant impact on established viewing conditions and redefining museum space. Further hindering this situation is the disparity between the fields of museology and museum security. -
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. -
The Code of Hammurabi
The Code of Hammurabi The Original Version of this Text was Rendered into HTML by Jon Roland of the Constitution Society Converted to PDF by Danny Stone as a Community Service to the Constitution Society The Code of Hammurabi 1 The Code of Hammurabi hen Anu the Sublime, King of the Anunaki, and Bel, the lord of Heaven and earth, who Wdecreed the fate of the land, assigned to Marduk, the over-ruling son of Ea, God of righteousness, dominion over earthly man, and made him great among the Igigi, they called Babylon by his illustrious name, made it great on earth, and founded an everlasting kingdom in it, whose foundations are laid so solidly as those of heaven and earth; then Anu and Bel called by name me, Hammurabi, the exalted prince, who feared God, to bring about the rule of righteousness in the land, to destroy the wicked and the evil-doers; so that the strong should not harm the weak; so that I should rule over the black-headed people like Shamash, and enlighten the land, to further the well- being of mankind. Hammurabi, the prince, called of Bel am I, making riches and increase, enriching Nippur and Dur-ilu beyond compare, sublime patron of E-kur; who reestablished Eridu and purified the worship of E- apsu; who conquered the four quarters of the world, made great the name of Babylon, rejoiced the heart of Marduk, his lord who daily pays his devotions in Saggil; the royal scion whom Sin made; who enriched Ur; the humble, the reverent, who brings wealth to Gish-shir-gal; the white king, heard of Shamash, the mighty, who again laid the -
Justice in Ancient Mesopotamia Zchapter ONE JUSTICE in ANCIENT MESOPOTAMIA
Justice in Ancient Mesopotamia zCHAPTER ONE JUSTICE IN ANCIENT MESOPOTAMIA Introduction Any study of justice in the Bible must begin with ancient Mesopotamia be- cause the concept and the vocabulary of biblical justice are rooted in that culture. To uncover these roots, this chapter will explore justice in ancient Mesopotamia from the Sumerian culture to the Neo-Babylonian. Although the scope of this chapter seems ambitious, its purpose is limited. The structure of judicial power and the general administration of justice in these cultures will not be treated here.1 This chapter restricts itself rather to the analysis of certain aspects of justice: the problem of the poor and the oppressed, the action of the government in response to them, and the reflection of such a problem in popu- lar piety.2 The concept of justice in ancient Mesopotamia embraces a broader meaning than our concepts of commutative, distributive, or social justice. It is not enough for the governor to promulgate good laws and supervise the keeping of these laws; in order for justice to have its place in the Mesopotamian world, he must also issue decrees of mercy that allow the restoration of a destabilized equality. This chapter studies the texts in chronological order. After an overview of early social and economic development in ancient Mesopotamia, it analyzes the first of social reforms undertaken there. It then goes on to consider the various Mesopotamian law codes, the decrees of mercy (“justice”), and the religious texts that reflect the situation facing the underclasses of Mesopotamia.3 1 For a study of the characteristic structures of judicial power as well as the adminis- tration of justice in general within the societies of ancient Mesopotamia, see Hans J. -
Caroline Murat: Powerful Patron of Napoleonic France and Italy
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2014-07-10 Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Dahlin, Brittany, "Caroline Murat: Powerful Patron of Napoleonic France and Italy" (2014). Theses and Dissertations. 4224. https://scholarsarchive.byu.edu/etd/4224 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Heather Belnap Jensen, Chair James Swensen Mark Magleby Department of Visual Arts Brigham Young University June 2014 Copyright © 2014 Brittany Dahlin All Rights Reserved ABSTRACT Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin Department of Visual Arts, BYU Master of Arts Caroline Bonaparte Murat created an identity for herself through the art that she collected during the time of her reign as queen of Naples as directed by her brother, Napoleon, from 1808- 1814. Through the art that she both commissioned and purchased, she developed an identity as powerful politically, nurturing, educated, fashionable, and Italianate. Through this patronage, Caroline became influential on stylish, female patronage in both Italy and France. Caroline purchased and commissioned works from artists such as Jean-August-Domonique Ingres, François Gérard, Elizabeth Vigée LeBrun, Antonio Canova and other lesser-known artists of the nineteenth century.