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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 -
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. -
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. -
S&S Icono-Diagnosis: a Challenge Between Medicine And
S&S Senses Sci 2019: 6 (2) 747-752 doi: 10.14616/sands- 2019-6-747752 Article Icono-diagnosis: a challenge between medicine and art Vito Franco Former Professor of Pathology - Università degli Studi di Palermo Correspondence: Prof. Vito Franco - Email: [email protected] Received: 23 May 2019; Accepted: 27 May 2019; Published: 30 June 2019 Abstract. The representation of human body in paintings and sculptures can be analysed with a medical look in order to find out any kind of diagnosable disease. This activity has been designed as icono-diagnosis. Many types of genetic and acquired medical conditions have been diagnosed in fine art works by several authors and recorded in the medical literature. The present report illustrates some examples and, tentatively, classifies main pathologic conditions in art representations. Keywords: Icono-diagnosis, fine arts, paintings, sculptures, diseases. Introduction and context Icono-diagnosis represents the retrospective image-based diagnosis of pathologies on figurative arts. The term was coined in 1983 by A. Pontius, a clinical professor of psychiatry at Harvard Medical School, who studied the Cook islands’ prehistoric art, searching for the diagnosis of Crouzon’s malformation (craniofacial dysostosis type I which is characterized by craniosynostosis, hypertelorism, exophthalmia, external strabismus, “parrot-beaked nose”, short upper lip, hypoplastic maxilla and a relative mandibular prognathism determining a mid-facial hypoplasia aspect (1). However, earlier medical literature reported several example of this practise in paintings and sculptures (2) with the translation from the images to a certain pathologic condition, just as two different languages. www.sensesandsciences.com Franco Sci 2019; 2: 747-752 A medical diagnosis in the artistic field can be provided only via a thorough direct visual evaluation and assessment of the canvas or the sculpture (3). -
GRADUATE PROGRAM in the HISTORY of ART Williams College/Clark Art Institute
GRADUATE PROGRAM IN THE HISTORY OF ART Williams College/Clark Art Institute Summer 2003 NEWSLETTER The Class of 2003 at its Hooding Ceremony. Front row, from left to right: Pan Wendt, Elizabeth Winborne, Jane Simon, Esther Bell, Jordan Kim, Christa Carroll, Katie Hanson; back row: Mark Haxthausen, Ben Tilghman, Patricia Hickson, Don Meyer, Ellery Foutch, Kim Conary, Catherine Malone, Marc Simpson LETTER FROM THE DIRECTOR CHARLES w.: (MARK) HAxTHAUSEN Faison-Pierson-Stoddard Professor of Art History, Director of the Graduate Program With the 2002-2003 academic year the Graduate Program began its fourth decade of operation. Its success during its first thirty years outstripped the modest mission that shaped the early planning for the program: to train for regional colleges art historians who were drawn to teaching careers yet not inclined to scholarship and hence having no need to acquire the Ph.D. (It was a different world then!) Initially, those who conceived of the program - members of the Clark's board of trustees and Williams College President Jack Sawyer - seem never to have imagined that it would attain the preeminence that it quickly achieved under the stewardship of its first directors, George Heard Hamilton, Frank Robinson, and Sam Edgerton. Today the Williams/Clark program enjoys an excellent reputation for preparing students for museum careers, yet this was never its declared mission; unlike some institutions, we have never offered a degree or even a specialization in "museum studies" or "museology." Since the time of George Hamilton, the program has endeavored simply to train art historians, and in doing so it has assumed that intimacy with objects is a sine qua non for the practice of art history. -
Art Appreciation Name ______Final Presentation Project-SEE and CONNECT-200 Points
Art Appreciation Name _____________________________________ Final Presentation Project-SEE AND CONNECT-200 Points Share your observations and what you SEE and CONNECT about art. This addresses the Communi- cation, Critical Thinking, Teamwork, and Social Responsibility requirements of a CORE course. There will be no formal final exam. (if that’s okay? ;^>) Don’t forget: Kindness, Curiosity, and Connection. • Each will be assigned to a Team determined by Ms. Millis. • Ms. Millis will set up a discussion forum for each Team. • Each will select ONE work from the following lists, Chapters 18-21. (Ms. Millis will present Ch. 17. • Each selection will be accompanied by one to two connections from the text OR Houston. • Each Team will create a short PPT of the works for that Chapter AND present the information to the class. Beginning next week. The presentation will be uploaded to Eagle Online. • Each Team will prepare a FIVE QUESTION QUIZ to be given at the end of the class that day. • Each Team will cite their sources at the end of their PPT and Ms. Millis will create a template AND an example of what the PPT should include. April 15-Chapter 17: The Ancient World-Ms. Millis April 22-Chapter 18: The Age of Faith April 29-Chapter 19: Renaissance through Baroque May 6-Chapter 20: 18th and 19th Centuries May 13-Chapter 21: 1900 to the Present See & Connect Clearly deficient Below average Average work; Above Exceptionally fine work; Total Grading Rubric- presentation, style work; noticeably good, average work; superior presentation, & content with weak with unexceptional superior in one vis. -
Un Cuadro, Una Silla Uncuadrounasilla.Wordpress.Com
Un cuadro, una silla uncuadrounasilla.wordpress.com By Rubén Cervantes Garrido Crevices of modernity 13 March 2016 I arrived at the Ingres exhibition at the Prado with my eyes wide open, willing to arrive at an idea of the artist I could fully call my own; an idea which would fix his position in my particular history of art, that history which is every aficionado’s own, made according to personal taste and experience; a history that, however similar to the one in books, is never entirely like it. I looked at things I liked and things I didn’t, what seduced me and what left me indifferent, and I reached the conclusion that Ingres is one of the strangest artists there are. Having previously discarded the easy accusations of academic and cold painter, I searched for an Ingres who some of my professors at university had argued was one of Picasso’s greatest references. It’s easy to imagine Ingres as the Academy’s pet, the incarnation of a dying style among the Gériaults, Delacroix and Courbets. He received accusations of being old-fashioned as early as 1806 (he was twenty-six) when the critics defined his monumental Napoleon I On His Imperial Throne as “Gothic”. There is an Egyptian-like severity in this Napoleon, though its obsessive eye for detail reminds one, as Robert Rosenblum so accurately observed, to the Van Eycks’ God the Father in the Ghent Altarpiece. Before such a painting, with its impressive height and width, taste is a minor matter. I don’t know why there is a railing protecting it at the Prado, but it makes it look like the entrance to a private chapel in a church, enhancing its authority. -
19Th and 20Th Century French Exoticism
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2004 19th and 20th century French exoticism: Pierre Loti, Louis-Ferdinand Céliné , Michel Leiris, and Simone Schwarz-Bart Robin Anita White Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the French and Francophone Language and Literature Commons Recommended Citation White, Robin Anita, "19th and 20th century French exoticism: Pierre Loti, Louis-Ferdinand Céĺ ine, Michel Leiris, and Simone Schwarz-Bart" (2004). LSU Doctoral Dissertations. 2593. https://digitalcommons.lsu.edu/gradschool_dissertations/2593 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. 19TH CENTURY AND 20TH CENTURY FRENCH EXOTICISM: PIERRE LOTI, LOUIS-FERDINAND CÉLINE, MICHEL LEIRIS, AND SIMONE SCHWARZ-BART A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirement for the degree of Doctor of Philosophy in The Department of French Studies by Robin Anita White B.A. The Evergreen State College, 1991 Master of Arts Louisiana State University, 1999 August 2004 ACKNOWLEDGEMENTS This work is dedicated to my family and friends who lent me encouragement during my studies. They include my parents, Joe and Delsa, my brother and sister-in-law, and many others. I would like to express gratitude for the help I received from the Department of French Studies at LSU, in particular, Dr. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not se^d UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wiU indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this co^r for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Com pany 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Nimiber 9505207 E v a Gouzalès (1849— 1.883): A n examination of the artist’s style and subject matter. -
Cambridge University Press 978-0-521-84243-3 — Ingres and His Critics Andrew Carrington Shelton Index More Information
Cambridge University Press 978-0-521-84243-3 — Ingres and his Critics Andrew Carrington Shelton Index More Information Index About, Edmond,´ 227, 232–33, 234 on Ingres, Jean-August-Dominique, 179–180, Agoult, Comte Charles d’, 112 234–237 Agoult, Marie d’ (pseud. Daniel Stern), 112–117, Baudry, Paul, 179 120, 122, 152, 186 beau id´eal, 130, 169–170, 234 Luigi Cherubini and the Muse of Lyric Poetry Beethoven, Ludwig van, 22 (Ingres), analysis of, 115–116 Belloy, Auguste de, 225, 227 d’Alcy, Georges. See Varnier, Jules Berger, Jean-Jacques, 203 Aligny, Caruelle d’, 224 Berlioz, Hector, 112 d’Almivar, G´en´eral, 47–48 Berry, Duc de, 22 Amaury-Duval, Eug`ene-Emmanuel, 1, 14, 55, Bertin, Louis-François, 63, 176, 177–178 74, 152, 162–168, 176, 181, 233 “La Bibliophile Jacob.” See Lacroix, Paul L’Atelier d’Ingres, 1 biographies (artistic), 138–139 Andrea del Sarto, 31, 110 ´eloge as form of, 138 archeology (classical) of Ingres, Jean-Auguste-Dominique, 135–146 La Stratonice (Ingres) and, references in, vie as form of, 138 76–77 Blanc, Charles, 18, 63, 64–65, 69, 72, 73, 152, 176 L’Artiste, 57, 60, 61, 62, 63, 70, 77, 90–91, 101, on La Stratonice (Ingres), 77, 78, 81–82, 84–85 108, 111, 116, 118, 138, 152, 177, 197, 224 Blanc, Louis, 63 l’art pour l’art (art for art’s sake) movement, 11, Boiteau, Paul-Dieudonn´e-Alexandre(pseud. 129–132, 171–176, 185, 209, 212, 220 Paul Boiteau d’Ambly), 229 l’art social (social art) movement, 220 Bonne-Nouvelle exhibition, 146–157, 162, L’Assembl´eenationale, 225 166–167, 170–171, 172–173, 175–176, 178, Association des artistes, peintres, sculpteurs, 179, 180, 201, 221 architectes, graveurs et dessinateurs, Bouguereau, Adolph William, 179 146, 149–151 Bourbon Restoration, 18, 21 Association des Mutuellists, 36 Bourdieu, Pierre, 12 Brid’oison, 24, 28, 47 Balleyguier, Eug`ene(pseud. -
Scanned Using Xerox Bookcentre 7130
RECLAIMING FEMALE AGENCY FEMINIST ART HISTORY AFTER POSTMODERNISM Edited by Norma Broude and Mary D. Garrard UNIVERSITY OF CALIFORNIA PRESS BERKELEY LOS ANGELES LONDON 22 CULTURAL COLLISIONS Identity and History in the Work o f Hung Liu Allison Arieff DECEPTIVELY SIMPLE, Hung Liu’s paintings ad images she appropriates, while at the same time re dress such diverse and complex issues as footbinding belling against stringent academic rendering. Forced and Western art-historical tradition. The tension in to paint in a Social Realist style in China, she now ea herent in her conflicted personal identity as a Chinese- gerly embraces the techniques of collage, installation, born woman artist living in the West informs her art. and assemblage. Liu also mocks traditional Western Liu’s images of women form a cultural critique, si portrayals of women by referencing the iconography multaneously referring to and challenging artistic and using the titles of canonical artworks such as her and social traditions of East and West. In basing her Mona Lisa I, Madonna, and La Grande Odalisque. subject matter on Western-influenced photographs of Liu’s paintings can perhaps best be read as alle turn-of-the-century Chinese prostitutes, Liu further gories, given their metatextuality: one text is read objectifies representations of women as a basis for through another. She does not invent her imagery but criticizing both the way "we” (Westerners) view Chi rather confiscates or appropriates it from other nese culture and the way Chinese culture has looked sources. At times she may even project the photo at women. She assumes the diflicult task of critiquing graphic image onto the canvas and paint from there.