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WAR and VIOLENCE: NEOCLASSICISM (Poussin, David, and West) BAROQUE ART: the Carracci and Poussin
WAR and VIOLENCE: NEOCLASSICISM (Poussin, David, and West) BAROQUE ART: The Carracci and Poussin Online Links: Annibale Carracci- Wikipedia Carracci's Farnese Palace Ceiling – Smarthistory Carracci - Heilbrunn Timeline of Art History Poussin – Wikipedia Poussin's Et in Arcadia Ego – Smarthistory NEOCLASSICISM Online Links: Johann Joachim Winckelmann - Wikipedia, the free encyclopedia Jacques-Louis David - Wikipedia, the free encyclopedia Oath of the Horatii - Smarthistory David's The Intervention of the Sabine Women – Smarthistory NEOCLASSICISM: Benjamin West’s Death of General Wolfe Online Links: Neoclassicism - Wikipedia, the free encyclopedia Benjamin West - Wikipedia, the free encyclopedia The Death of General Wolfe - Wikipedia, the free encyclopedia Death of General Wolfe – Smarthistory Death of General Wolfe - Gallery Highlights Video Wolfe Must Not Die Like a Common Soldier - New York Times NEOCLASSICISM: Jacques Louis David’s Death of Marat Online Links: Jacques-Louis David - Wikipedia, the free encyclopedia The Death of Marat - Wikipedia, the free encyclopedia Charlotte Corday - Wikipedia, the free encyclopedia Art Turning Left - The Guardian Annibale Carracci. Flight into Egypt, 1603-4, oil on canvas The Carracci family of Bologna consisted of two brothers, Agostino (1557-1602) and Annibale (1560-1609), and their cousin Ludovico (1556-1619). In Bologna in the 1580s the Carracci had organized gatherings of artists called the Accademia degli Incamminati (academy of the initiated). It was one of the several such informal groups that enabled artists to discuss problems and practice drawing in an atmosphere calmer and more studious than that of a painter’s workshop. The term ‘academy’ was more generally applied at the time to literary associations, membership of which conferred intellectual rank. -
This Article Appeared in a Journal Published by Elsevier. the Attached
This article appeared in a journal published by Elsevier. The attached copy is furnished to the author for internal non-commercial research and education use, including for instruction at the authors institution and sharing with colleagues. Other uses, including reproduction and distribution, or selling or licensing copies, or posting to personal, institutional or third party websites are prohibited. In most cases authors are permitted to post their version of the article (e.g. in Word or Tex form) to their personal website or institutional repository. Authors requiring further information regarding Elsevier’s archiving and manuscript policies are encouraged to visit: http://www.elsevier.com/copyright Author's personal copy Journal of Human Evolution 60 (2011) 618e636 Contents lists available at ScienceDirect Journal of Human Evolution journal homepage: www.elsevier.com/locate/jhevol On the evolution of diet and landscape during the Upper Paleolithic through Mesolithic at Franchthi Cave (Peloponnese, Greece) Mary C. Stiner a,*, Natalie D. Munro b a School of Anthropology, P.O. Box 210030, University of Arizona, Tucson, AZ 85721-0030, USA b Department of Anthropology, Unit 2176, 354 Mansfield Rd., University of Connecticut, Storrs, CT 06269, USA article info abstract Article history: Franchthi Cave in southern Greece preserves one of the most remarkable records of socioeconomic change Received 1 July 2010 of the Late Pleistocene through early Holocene. Located on the southern end of the Argolid Peninsula, the Accepted 17 December 2010 area around the site was greatly affected by climate variation and marine transgression. This study examines the complex interplay of site formation processes (material deposition rates), climate-driven Keywords: landscape change, and human hunting systems during the Upper Paleolithic through Mesolithic at Zooarchaeology Franchthi Cave based on the H1B faunal series. -
Cataloguing Chinese Art in the Middle and Late Imperial Eras
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras YEN-WEN CHENG University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Art and Architecture Commons, Asian History Commons, and the Cultural History Commons Recommended Citation CHENG, YEN-WEN, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras" (2010). Publicly Accessible Penn Dissertations. 98. https://repository.upenn.edu/edissertations/98 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/98 For more information, please contact [email protected]. Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras Abstract After obtaining sovereignty, a new emperor of China often gathers the imperial collections of previous dynasties and uses them as evidence of the legitimacy of the new regime. Some emperors go further, commissioning the compilation projects of bibliographies of books and catalogues of artistic works in their imperial collections not only as inventories but also for proclaiming their imperial power. The imperial collections of art symbolize political and cultural predominance, present contemporary attitudes toward art and connoisseurship, and reflect emperors’ personal taste for art. The attempt of this research project is to explore the practice of art cataloguing during two of the most important reign periods in imperial China: Emperor Huizong of the Northern Song Dynasty (r. 1101-1125) and Emperor Qianlong of the Qing Dynasty (r. 1736-1795). Through examining the format and content of the selected painting, calligraphy, and bronze catalogues compiled by both emperors, features of each catalogue reveal the development of cataloguing imperial artistic collections. -
Paleoanthropology of the Balkans and Anatolia, Vertebrate Paleobiology and Paleoanthropology, DOI 10.1007/978-94-024-0874-4 326 Index
Index A Bajloni’s calotte BAJ, 17, 19–20 Accretion model of Neanderthal evolution, 29 Balanica Acculturation, 164–165, 253 BH-1, 15, 24–29, 309 Acheulean, 80, 148, 172, 177, 201, 205, 306, 308, 310 hominin, 15–17, 29 large flake, 129, 132, 218 Mala, vi, 16, 24, 30, 139–140, 144–145, lithic artifacts, 80 148, 309–311 Lower, 308 Velika, 24, 36, 139–140, 144–145, 148 Middle, 308 Balıtepe, 214, 223–224 Admixture, vi, 29, 258 Balkan, v, 3, 139, 159, 171, 187, 218, 229, 274, 282, 303 Neanderthal, 51–64 and Anatolia, 308–310 Adriatic, 46, 154, 157, 162, 164–166 Central, vi, 3, 15–30, 139–150 Aegean, 29–30, 74–76, 116, 119, 121–122, 134–135, 148, 213, implications for earliest settlement of Europe, 220–221, 261, 283, 305, 316 187–210 Aizanoi, 221 Mountains, 69, 187 Akçeşme, 214, 223–224 and neighbouring regions, 229–261 Aktaş, 214, 217 Peninsula, 51, 70, 74, 119, 134, 150, 187, 201, 208 Alluvial plain, 125, 314 Southern, 3, 12, 47, 275 Alykes, 270, 272 Bañolas mandible, 28 Amărăști, 176–177, 181 Basalt, 201, 217–218, 220, 284 Anatolia (Asia Minor), 3, 79–80, 308–310 Basins, 51, 74, 99, 119, 139, 213, 281, 303 Central (Region), 128, 132, 134, 213, 217–218, 220, 223, 313 Anagni, 306 Eastern (Region), 217 Apennine, 310, 314 and hominin dispersals, 213–225 Beni Fouda, 307 North, 120 Čačak-Kraljevo, 140 Southeastern (Region), 215, 217, 220, 223 Carpathian, 51, 148 west, 119, 121 Denizli, 83 Anatomically modern human, 23, 36, 41, 44, 46, 55–56, 62, 70, 72, evolution on archaeological distributions, 313–317 76, 95, 111, 153, 165–166, 229 Grevena, 269, 272 Apidima, 4, 7–8, 11–12, 96, 310–311 Kalloni, 121–122 Apolakkia, 270–271 Megalopolis, 9, 12, 134–135, 298 Apollonia, 74, 270, 273, 276–277, 286–287 Mygdonia, 12, 273 Arago, 10, 25, 29, 56, 59, 87–90, 149, 312 Niš, 139, 146 Archaeological pattern, 303, 305 Pannonian, 15, 23, 319 Areopolis, 97 Thessalian, 310 Asprochaliko, 95, 148, 238–239, 253, 260 Venosa, 306 Assimilation model, 162 Belen Tepe, 221–222, 225 Atapuerca, 28, 276, 285, 287, 312, 318 Benkovski, 187, 205–209, 309 Sima de los Huesos, 27–29, 304, 306–307 BH-1. -
Influence of Science on Ancient Greek Sculptures
www.idosr.org Ahmed ©IDOSR PUBLICATIONS International Digital Organization for Scientific Research ISSN: 2579-0765 IDOSR JOURNAL OF CURRENT ISSUES IN SOCIAL SCIENCES 6(1): 45-49, 2020. Influence of Science on Ancient Greek Sculptures Ahmed Wahid Yusuf Department of Museum Studies, Menoufia University, Egypt. ABSTRACT The Greeks made major contributions to math and science. We owe our basic ideas about geometry and the concept of mathematical proofs to ancient Greek mathematicians such as Pythagoras, Euclid, and Archimedes. Some of the first astronomical models were developed by Ancient Greeks trying to describe planetary movement, the Earth’s axis, and the heliocentric system a model that places the Sun at the center of the solar system. The sculpture of ancient Greece is the main surviving type of fine ancient Greek art as, with the exception of painted ancient Greek pottery, almost no ancient Greek painting survives. The research further shows the influence science has in the ancient Greek sculptures. Keywords: Greek, Sculpture, Astronomers, Pottery. INTRODUCTION The sculpture of ancient Greece is the of the key points of Ancient Greek main surviving type of fine ancient Greek philosophy was the role of reason and art as, with the exception of painted inquiry. It emphasized logic and ancient Greek pottery, almost no ancient championed the idea of impartial, rational Greek painting survives. Modern observation of the natural world. scholarship identifies three major stages The Greeks made major contributions to in monumental sculpture in bronze and math and science. We owe our basic ideas stone: the Archaic (from about 650 to 480 about geometry and the concept of BC), Classical (480-323) and Hellenistic mathematical proofs to ancient Greek [1]. -
Indian Art History from Colonial Times to the R.N
The shaping of the disciplinary practice of art Parul Pandya Dhar is Associate Professor in history in the Indian context has been a the Department of History, University of Delhi, fascinating process and brings to the fore a and specializes in the history of ancient and range of viewpoints, issues, debates, and early medieval Indian architecture and methods. Changing perspectives and sculpture. For several years prior to this, she was teaching in the Department of History of approaches in academic writings on the visual Art at the National Museum Institute, New arts of ancient and medieval India form the Delhi. focus of this collection of insightful essays. Contributors A critical introduction to the historiography of Joachim K. Bautze Indian art sets the stage for and contextualizes Seema Bawa the different scholarly contributions on the Parul Pandya Dhar circumstances, individuals, initiatives, and M.K. Dhavalikar methods that have determined the course of Christian Luczanits Indian art history from colonial times to the R.N. Misra present. The spectrum of key art historical Ratan Parimoo concerns addressed in this volume include Himanshu Prabha Ray studies in form, style, textual interpretations, Gautam Sengupta iconography, symbolism, representation, S. Settar connoisseurship, artists, patrons, gendered Mandira Sharma readings, and the inter-relationships of art Upinder Singh history with archaeology, visual archives, and Kapila Vatsyayan history. Ursula Weekes Based on the papers presented at a Seminar, Front Cover: The Ashokan pillar and lion capital “Historiography of Indian Art: Emergent during excavations at Rampurva (Courtesy: Methodological Concerns,” organized by the Archaeological Survey of India). National Museum Institute, New Delhi, this book is enriched by the contributions of some scholars Back Cover: The “stream of paradise” (Nahr-i- who have played a seminal role in establishing Behisht), Fort of Delhi. -
Greek Sculpture and the Four Elements Art
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level. -
The Cradle of Humanity: Prehistoric Art and Culture/ by Georges Bataille : Edited and Introduced by Stum Kendall ; Translated by Michelle Kendall and Stum Kendall
The Cradle of Humanity Prehistoric Art and Culture Georges Bataille Edited and Introduced by Stuart Kendall Translated by Michelle Kendall and Stuart Kendall ZONE BOOKS · NEW YORK 2005 � 2005 UrzoneInc ZONE B001[S 1226 Prospect Avenue Brooklyn, NY 11218 All rights reserved. No pm of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, including electronic, mechanical, photocopying, microfihning,recording, or otherwise (except for that copying permitted by Sections 107 and 108 of the U.S. Copyright uw and except by reviewers for the public press) without written permission from the Publisher. Printed in the United States of America. Georges Bataille's writings are O Editions Gallimard, Paris. Distributed by The MIT Press, Cambridge, Massachusetts, and London, England Library of Congress Cataloging-in-Publication Data Bataille, Georges, 1897-1962 The cradle of humanity: prehistoric art and culture/ by Georges Bataille : edited and introduced by Stum Kendall ; translated by Michelle Kendall and Stum Kendall. P· cm. Includes bibliographical references. ISBN 1-890951-55-2 l. Art, prehistoric and science. I. Kendall, Stuart. II. Title. N5310.B382 2004 709'.01 -dc21 Original from Digitized by UNIVERSITY OF CALIFORNIA Google Contents Editor's Introduction: The Sediment ofthe Possible 9 A Note on the Translation 33 Primitive Art 35 I The Frobenius Exhibit at the Salle Pleyel 45 II A Visit to Lascaux: A Lecture at the Sociiti d'A9riculture, Sciences, Belles-Lettres III et Arts d'Orlians 47 The Passa9efrom -
The Distribution of Obsidian in the Eastern Mediterranean As Indication of Early Seafaring Practices in the Area a Thesis B
The Distribution Of Obsidian In The Eastern Mediterranean As Indication Of Early Seafaring Practices In The Area A Thesis By Niki Chartzoulaki Maritime Archaeology Programme University of Southern Denmark MASTER OF ARTS November 2013 1 Στον Γιώργο 2 Acknowledgments This paper represents the official completion of a circle, I hope successfully, definitely constructively. The writing of a Master Thesis turned out that there is not an easy task at all. Right from the beginning with the effort to find the appropriate topic for your thesis until the completion stage and the time of delivery, you got to manage with multiple issues regarding the integrated presentation of your topic while all the time and until the last minute you are constantly wondering if you handled correctly and whether you should have done this or not to do it the other. So, I hope this Master this to fulfill the requirements of the topic as best as possible. I am grateful to my Supervisor Professor, Thijs Maarleveld who directed me and advised me during the writing of this Master Thesis. His help, his support and his invaluable insight throughout the entire process were valuable parameters for the completion of this paper. I would like to thank my Professor from the Aristotle University of Thessaloniki, Nikolaos Efstratiou who help me to find this topic and for his general help. Also the Professor of University of Crete, Katerina Kopaka, who she willingly provide me with all of her publications –and those that were not yet have been published- regarding her research in the island of Gavdos. -
Ancient Art and Archeology: the Copenhagen Collections DIS – Study Abroad in Scandinavia | Related Disciplines: Art History, Classics
Final Syllabus Ancient Art and Archaeology Instructor: Thyge C. Bro Credits: 3 credit course Majors: Archaeology, Art History, Classics, History B3: Tuesdays and Fridays 11:40 – 13:00 Class-room: F24 - 406 Ancient Art and Archeology: The Copenhagen Collections DIS – Study Abroad in Scandinavia | Related Disciplines: Art History, Classics Final Syllabus This course focuses on the art and archaeology of ancient Greece and Rome from c. 1000 B.C. to c. A.D. 300, as it can be experienced through the collections in museums in Copenhagen. Stylistic and iconographical developments, as well as cultural meaning and historical context will be emphasized. The students will have the unique opportunity to study some of the finest collections of Greek and Roman art outside Greece and Italy. A substantial part of this course will take place observing firsthand the Collections of the Danish National Museum and the Ny Carlsberg Glyptotek. Both museums are well known for their collections: the Ny Carlsberg Glyptotek for its Greek sculptures and Roman portraits, and the National Museum for its Greek vases. Both have large collections of all kinds of objects from the ancient Mediterranean. By studying in these world-class museums, student will also gain a better understanding of musicological issues and methodology. Over the centuries a unique art and architecture developed and matured in first Greece and later in the Roman Empire. The many aspects of ancient Greek art can best be studied through two media: vase painting and sculpture. Greek vase painting developed over time; changing pattern of color and shape, showing gods and heroes, and is our best illustration to scenes from daily life. -
Massachusetts Tests for Educator Licensure (MTEL )
Massachusetts Tests for Educator Licensure® (MTEL®) www.mtel.nesinc.com Copyright © 2017 Pearson Education, Inc. or its affiliate(s). All rights reserved. Evaluation Systems, Pearson, P.O. Box 226, Amherst, MA 01004 Massachusetts Tests for Educator Licensure and MTEL are trademarks of the Massachusetts Department of Elementary and Secondary Education and Pearson Education, Inc. or its affiliate(s). Pearson and its logo are trademarks, in the U.S. and/or other countries, of Pearson Education, Inc. or its affiliate(s). 11/17 Visual Art (17) Practice Test Readers should be advised that this practice test, including many of the excerpts used herein, is protected by federal copyright law. Test policies and materials, including but not limited to tests, item types, and item formats, are subject to change at the discretion of the Massachusetts Department of Elementary and Secondary Education. Visual Art (17) Practice Test MULTIPLE-CHOICE QUESTION ANALYSES A-1 Visual Art (17) Practice Test 1. Use the reproduction below of Tidal (1955) by Gabor Peterdi to answer the question that follows. In this painting, the artist's use of repetition of similar shapes across the canvas creates a sense of: A. movement. B. form. C. symmetrical balance. D. emphasis. Correct Response: A. In visual art, various techniques are used to create the look and feel of movement and to guide the viewer's eyes through the work of art. In Tidal, the repetition of shapes, their varying angles, the increase in the number of shapes and the complexity of their arrangement from left to right creates a sense of motion across the canvas. -
Capítulo VIII Consideraciones Finales
Capítulo VIII Consideraciones Finales 431 VIII. CONSIDERACIONES FINALES Entre finales del V milenio y principios del IV, parece ser que las sociedades del noreste de la Península Ibérica son testigos de un conjunto de transformaciones paulatinas que se reflejan en los patrones de asentamiento, así como en la organización social (Molist et alii, 1995). Desde nuestro objeto de estudio, el material lítico, también hemos querido acercarnos al conocimiento de tales transformaciones. Para ello, hemos analizado el utillaje lítico de varios contextos arqueológicos de este periodo. A este respecto, hemos explicado como durante el V milenio, los habitantes de lugares como Sant Pau del Camp, u otros contemporáneos como Hort d'en Grimau, Cova del Frare o Cova de l'Avellaner, explotaban aquellas rocas que tenían a su alrededor. El aprovisionamiento de litologías como el sílex, el jaspe o el cuarzo se realizaba en zonas cercanas al asentamiento. Aunque los métodos y las técnicas de talla estaban dirigidas a conseguir básicamente lascas, cuando las condiciones de los bloques y la materia prima lo permitían, se intentaban obtener soportes de mayores dimensiones como son las láminas. A partir de inicios del IV milenio la situación cambia sustancialmente, la utilización de las materias locales disminuyó considerablemente y empezaron a aprovecharse rocas de mejor calidad, que no parecían provenir de Catalunya. Entre éstas sobresale el sílex melado y esporádicamente la obsidiana. Si bien los sistemas técnicos no variaron demasiado con respecto a la talla de las rocas de origen local, los procesos imbricados en la explotación del sílex melado fueron totalmente diferentes. En este caso, los núcleos pasaban por una cuidadosa preparación dirigida a obtener, mediante presión, láminas de manera estandarizada.