Prehistoric Arts 1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Relationship of PSAT/NMSQT Scores and AP Examination Grades
Research Notes Office of Research and Development RN-02, November 1997 The Relationship of PSAT/NMSQT Scores and AP® Examination Grades he PSAT/NMSQT, which measures devel- Recent analyses have shown that student per- oped verbal and quantitative reasoning, as formance on the PSAT/NMSQT can be useful in Twell as writing skills generally associated identifying additional students who may be suc- with academic achievement in college, is adminis- cessful in AP courses. PSAT/NMSQT scores can tered each October to nearly two million students, identify students who may not have been initially the vast majority of whom are high school juniors considered for an AP course through teacher or and sophomores. PSAT/NMSQT information has self-nomination or other local procedures. For been used by high school counselors to assist in many AP courses, students with moderate scores advising students in college planning, high school on the PSAT/NMSQT have a high probability of suc- course selection, and for scholarship awards. In- cess on the examinations. For example, a majority formation from the PSAT/NMSQT can also be very of students with PSAT/NMSQT verbal scores of useful for high schools in identifying additional 46–50 received grades of 3 or above on nearly all of students who may be successful in Advanced the 29 AP Examinations studied, while over one- Placement courses, and assisting schools in deter- third of students with scores of 41–45 achieved mining whether to offer additional Advanced grades of 3 or above on five AP Examinations. Placement courses. There are substantial variations across AP subjects that must be considered. -
AP Art History Chapter 24 Questions: the Baroque in Italy and Spain
AP Art History Chapter 24 Questions: The Baroque in Italy and Spain 1. Gianlorenzo Bernini was _____, _____, ______, _______, and stage designer. It was one of the most important and ______ artists of the _____ era in Italy. He had been the favorite sculpture of ____ who spent so much on art that he nearly bankrupted the Vatican treasury. (659) 2. Who were the patron and sculptor for the Fountain of Four Rivers? How did he win this commission?) (669) 3. What is typical of Baroque art? (670) 4. Describe how Santa Susanna stands as one of the earliest manifestation of Baroque artistic spirit? (670‐671) 5. Describe Bernini’s new design for Saint Peter’s (672) 6. How does Bernini’s baldacchino serve as function and symbolic purpose? It was created in the lost‐wax process. Define the lost wax process. (page 130) Define chasing. (673) 7. Compare Bernini’s David to Donatello’s, Michelangelo’s, and Verrocchio’s David. Discuss the similarities and differences. How is this typical of the Baroque style? (674) 8. How does Bernini incorporate architecture, sculpture, and painting in his Ecstasy of Saint Teresa in the Cornaro chapel? (675) 9. Describe Borromini innovative Baroque style in the façade of San Carol alle Quattro Fontane, Rome, Italy. (676) 10. Describe Borromini’s plan for the Chapel of Saint Ivo? (678) 11. What was the Bolognese academy and who established it? (679) 12. Describe how Carracci’s, Flight into Egypt, was an idealize landscape and idealize life? (679) 13. How were the patron and artist of the Loves of the Gods ceiling frescos? How does this compare to the ceiling of the Sistine Chapel by Michelangelo? (680) 14. -
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 -
Bernini Breaking Barriers – Sensuality Sculpted in Stone
Bernini Breaking Barriers – Sensuality Sculpted in Stone Sandra Mifsud Bonnici [email protected] Abstract This paper will attempt to demonstrate that with his virtuosity, the Baroque sculptor, Gian Lorenzo Bernini managed to challenge the barriers which the medium he worked with, namely stone (marble) offered, to produce dynamic, lifelike and realistic works that also managed to express a previously unknown element in sculpture, that of sensuality. It will try to highlight how the spiritual and physical could come together in his works. The first masterpiece that will be focused upon will be the portrait bust of Bernini’s lover Costanza Piccolomini, a private work Bernini sculpted when he was thirty-nine years of age, chosen to represent the passion and worldly love that he felt for this woman. By way of contrast, the second masterpiece studied in this paper is the figure of the Blessed Ludovica Albertoni, one of his last works, chosen to represent Bernini’s concept of the culmination of spiritual love that also incorporated a sensual element. The third and final masterpiece is the ecstasy of St. Teresa of Avila found in the Cornaro Chapel in the Church of Santa Maria della Vittoria, considered by many as his greatest work, as an example of how mysticism also has a sensual element to it. Keywords: Baroque sculpture, Gian Lorenzo Bernini, sensuality, Costanza Piccolomini, Ludovica Albertoni, St Teresa d’Avila. No one can deny that Gian Lorenzo Bernini had the extraordinary technical skill and expertise to sculpt anything that he visualised or saw. The numerous works of art that he continued to create into his maturity and almost up to his death are evidence of this. -
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. -
Wines Come Together in Perfect Harmony
Where we are How - exits from the A21, A26 and A7 motorways - railway stations at Acqui Terme, Alessandria, Casale www.alexala.it to find us Monferrato, Novi Ligure, Ovada, Tortona and Valenza www.provincia.alessandria.it Alessandria is at the crossroads between regions, cultures and culinary Distances: cities traditions that have different origins but the same prestige. We have taken all 95km from Milan the most precious elements of these different sources and have melded them 90km from Turin together in a cradle of tastes, aromas and sensations that is rare, even for Italy. 85km from Genoa We are in the south-east corner of Piedmont, at the centre of a triangle formed Distances: airports by the cities of Turin, Milan and Genoa, all three being easily reached by car, 150km from Bergamo Orio al Serio our district being criss-crossed by the A21 Turin-Piacenza, A26 Santhià-Genoa 120km from Milan Malpensa and A7 Milan-Genoa motorways. 110km from Milan Linate 105km from Turin Caselle 80km from Genoa Cristoforo Colombo 1 The region Alessandria - 3560km2 surface area, 435,000 inhabitants www.alexala.it and Province - Mediterranean climate www.provincia.alessandria.it The Province of Alessandria has a surface area of 3,560km2 and some Our district 435,000 inhabitants. Its Mediterranean climate and geographic make up of plain (35%), hill (53%) and mountain (12%), gives visitors an ample choice 12% when they come to experience the natural beauty of this special corner of Piedmont. The pleasant weather of spring and summer makes this the ideal spot for people who are keen on sporting activities, whilst the autumn and winter are for those who enjoy the pleasures of the table, where good food and splendid 35% wines come together in perfect harmony. -
1 APAH Daily Calendar 2020 21
APAH CALENDAR 2020 - 21 AP ART HISTORY *subject to constant change CALENDAR & OVERVIEW SUGGESTED SUMMER WORK: KHAN ACADEMY APAH250 IMAGES - APAH WEBSITE LINKS www.pinerichland.org/art BROWSING / SELF - QUIZ *click on APArtHistory tab on Left menu SUMMER SUGGESTED SUMMER WORK: VTHEARLE SUMMER LEARNING FILMS: Expanding upon APAH250 works and deepening RESOURCES VIA PRHS SITE context surrounding works DAILY CLASS READINGS - TO BE DONE BEFORE CLASS *Readings before class: QUIZ: G= Gardner’s Art Through the Ages I will evaluate your retention of class materials periodically in the form of a (DIGITAL EBOOK) POP QUIZ. K= Khan Academy (WEBSITE) Methods may vary: i.e. ‘Plickers’ / Google Quiz They will have a lower relative point value... Aka ‘The Fat these are designed to help guide my instruction ‘APAH 250 Stack’ FORMATIVE (forming understanding) vs. SUMMATIVE (sum end result) CARDS’TIMELINE (hallway) FRQ SIMULATION ESSAY WRITINGS: 3 PER QUARTER = 12 TOTAL FLASH CARDS Details on assignments to follow ‘TIMELINE FLASH CARDS’ for each piece in the 250 IMAGE SET will act GAME (WAR) as Instructional tools to help students learn the material FIELD TRIP (?) ‘HANDS ON’ STUDIO PROJECTS ~$15-$20 FREE CARDS! APRIL, 2021 -More info to come when possible or appropriate ANALYSIS ‘UNIT TESTS’ based on roughly 30 images each METHODS SUMMATIVE Assessment of learning in Units ‘CONCEPT MAPS’ for each piece in the 250 $94 IMAGE SET will act as Instructional tools to VISUAL help students learn the material ‘AP ART HISTORY EXAM’ THURS MAY 6, 2021 12PM shared via -
Codex Aubin: History in Reprint Arjun Sai Krishnan
Codex Aubin: History in Reprint Arjun Sai Krishnan I. Introduction The Codex Aubin, a post-conquest Nahuatl-language pictorial codex, is a valuable record of indigenous perspectives on historiography in the period immediately succeeding the Spanish conquest of the Valley of Mexico. A fascinating handwritten account of Mexica (Aztec) history and legend, it begins with a departure from Áztlan, the mythical homeland of the Mexica, and ending in the early seventeenth century with a depiction of indigenous life in early colonial Mexico. Clearly drawing from the Aztec cartographic and pictorial tradition, the codex contains primarily Nahuatl text transcribed in Roman script and printed on colonial octavo paper (Paxton & Cicero, 2017). The text represents a complex intersection of cultures, languages, and representational systems: an indigenous annal swathed in European conventions, unravelling the many competing traditions encompassed in the codex grants a unique window into the status of language and history in the nascent mestizo society of Mexico. A number of scholars have commented on the codex’s historiography (Rajagopalan, 2019), (Navarrete, 2000), most focusing on a subset of the original text’s narratorial and pictorial choices. An exploration of the tlacuilo’s intentions and audience becomes key; we see the creative re-telling of an ancient myth, illustrated with traditional imagery but written in Roman script and glossed in Spanish. What emerges is a clear picture of a cultural encounter; the Aubin codex is a demonstrative example of the post-Conquest European reformulation of indigenous conventions. This work will attempt to review some of the scholarship surrounding the Aubin codex, but most interestingly, we will also focus on the Princeton University manuscript copy of the codex. -
Advanced Placement Program Information Night
Advanced Placement Program Information Night Columbia High School https://tinyurl.com/yae9e75x Welcome Columbia High School is committed to every student’s success. We believe access to rigorous coursework, such as Advanced Placement® (AP®), plays an important role in that success. https://tinyurl.com/yae9e75x What We’ll Cover • What is it Like to Take AP® courses? • Advanced Placement® Course Offerings? • AP® Exams • The Benefits • Next Steps: Help Your Child Make the Best Choices https://tinyurl.com/yae9e75x ® What is it like to take AP Courses? https://tinyurl.com/yae9e75x ® Advanced Placement : The Basics ● The Advanced Placement Program is run by a non-profit organization, the College Board. The College Board is also responsible for the PSAT and SAT tests. ● AP® courses are college-level courses offered in high school. ● AP® Courses reflect what is taught in top, introductory college courses. ● Students take AP® Exams at the end of the course, measuring their mastery of college-level work. ● A score of 3 or higher on an AP® Exam may earn students college credit and/or placement into advanced courses in college. ® AP Myths & Realities Myth Reality AP® courses are for students who always get good AP® courses are for any students who are academically grades. prepared and motivated to take college-level courses.. AP® courses are too stressful. It's no secret that AP® courses are challenging, but the support you will receive from your classmates and teachers can help you manage the workload. I don't think I will score high enough on the AP® You don’t need to score a 5. -
AP® Art History Exam
SAMPLE QUESTIONS AP® Art History Exam Originally published in the October 2013 AP Art History Curriculum Framework About the College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of over 6,000 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success – including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www. collegeboard.org. AP® Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP® programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. It is only through a commitment to equitable preparation and access that true equity and excellence can be achieved. -
Architektura Włoskiego Baroku W Służbie Władzy I Kontrreformacji
ARCHITEKTURA WŁOSKIEGO BAROKU W SŁUŻBIE WŁADZY I KONTRREFORMACJI Joanna Arlet ARCHITEKTURA WŁOSKIEGO BAROKU W SŁUŻBIE WŁADZY I KONTRREFORMACJI TEKA ZACHODNIOPOMORSKA NR 4/2018 MONOGRAFIA Szczecin 2018 Wydanie publikacji zrealizowano przy udziale środków finansowych otrzymanych z budżetu Województwa Zachodniopomorskiego Recenzenci: Prof. dr hab. inż. arch. Zbigniew Paszkowski Prof. dr hab. inż. arch. Andrzej Białkiewicz Projekt okładki: Jakub Gołębiewski Redakcja: Wojciech Markowski Wydano za zgodą Rektora Zachodniopomorskiego Uniwersytetu Technologicznego w Szczecinie Publikacja finansowana z dotacji Województwa Zachodniopomorskiego Copyright © by Zachodniopomorski Uniwersytet Technologiczny w Szczecinie, Szczecin 2018 Copyright © by Joanna Arlet, Szczecin 2018 Wydanie II (uzupełnione) Wydawnictwo z serii: TEKA ZACHODNIOPOMORSKA Nr 4/2018 Redaktor serii: prof. dr hab. inż. arch. Zbigniew Paszkowski Komitet Redakcyjny: dr hab. inż. arch. Aleksandra Satkiewicz-Parczewska dr inż. arch. Joanna Arlet dr inż. arch. Ewa Augustyn-Lendzion dr inż. arch. Piotr Fiuk dr inż. arch. Izabela Kozłowska dr inż. arch. Maciej Płotkowiak dr inż. arch. Agnieszka Rek-Lipczyńska Adres do korespondencji: TEKA ZACHODNIOPOMORSKA Katedra Historii i Teorii Architektury Wydział Budownictwa i Architektury Zachodniopomorski Uniwersytet Technologiczny w Szczecinie ul. Żołnierska 50, 71-210 Szczecin email: [email protected] www.tekazachodniopomorska.pl Wydawnictwo hogben al. Papieża Jana Pawła II 7,8 U2B, 70-415 Szczecin ISBN 978-83-63868-94-9 Skład i druk: printshop.szczecin.pl SPIS TREŚCI WPROWADZENIE ZAŁOŻENIA I CEL PUBLIKACJI. 9 ZAKRES I METODA BADAŃ. 10 STAN BADAŃ ORAZ PRZEGLĄD ŹRÓDEŁ I LITERATURY . 10 POCZĄTKI BAROKU W RZYMIE PRZESŁANKI I TŁO HISTORYCZNE. 17 REFORMACJA I JEJ ODDZIAŁYWANIE NA SPOŁECZEŃSTWA EUROPY I PAŃSTWO KOŚCIELNE. 21 TWÓRCZOŚĆ GIACOMA BAROZZI DA VIGNOLI JAKO PREKURSORA BAROKU, MECENAT KARDYNAŁA ALESSANDRO FARNESE .