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The Aegean Chapter Viii the Decorative
H. J. Kantor - Plant Ornament in the Ancient Near East, Chapter VIII: The Decorative Flora of Crete and the Late Helladic Mainland SECTION II: THE AEGEAN CHAPTER VIII THE DECORATIVE FLORA OF CRETE AND THE LATE HELLADIC MAINLAND In the midst of the sea, on the long island of Crete, there dwelt a people, possessors of the fabulous Minoan culture, who are known to have had trade relations with Egypt, and with other Near-Eastern lands. Still farther away towards the north lies the Mainland of Greece, a region that proved itself to be a very hospitable host to the graft of Minoan culture. Before the close of the LH period the ceramic results of this union were to be spread over the Near East in great profusion and it becomes necessary to define the extent of Aegean influence on those traditions of Near-Eastern art that lie within the scope of our topic. Before this is possible a concise summary of the plant ornamentation of the Aegean must be presented.1 This background forms a necessary basis without which the reaction of Aegean plant design on the main development of our story, be it large or small, cannot be determined. 1 A great deal of interest and work has been devoted to the study of Minoan decorative art almost since the beginning of its discovery, and full advantage of this has been taken in the preparation of the present survey. The chief treatments of the subject are as follows: Edith H. Hall, The Decorative Art of Crete in the Bronze Age (Philadelphia, 1907); Ernst Reisinger, Kretische Vasenmalerei vom Kamares bis zum Palast-Stil (Leipzig, Berlin, 1912); Diederich Fimmen, Die Kretisch-Mykenische Kulture (Leipzig, Berlin, 1924), Alois Gotsmich, Entwicklungsgang der Kretischen Ornamentik, Wein, 1923); Frederich Matz, Frühkretische Siegel (Berlin, 1928), covering a much wider field than is indicated by the title; Georg Karo, Die Schachtgräber von Mykenai (Munchen, 1939). -
Questions of Fashion
http://www.jstor.org/stable/10.1086/677870 . Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and Bard Graduate Center are collaborating with JSTOR to digitize, preserve and extend access to West 86th. http://www.jstor.org This content downloaded from 185.16.163.10 on Tue, 23 Jun 2015 06:24:53 AM All use subject to JSTOR Terms and Conditions Questions of Fashion Lilly Reich Introduction by Robin Schuldenfrei Translated by Annika Fisher This article, titled “Modefragen,” was originally published in Die Form: Monatsschrift für gestaltende Arbeit, 1922. 102 West 86th V 21 N 1 This content downloaded from 185.16.163.10 on Tue, 23 Jun 2015 06:24:53 AM All use subject to JSTOR Terms and Conditions Introduction In “Questions of Fashion,” Lilly Reich (1885–1947) introduces readers of the journal Die Form to recent developments in the design of clothing with respect to problems of the age.1 Reich, who had her own long-established atelier in Berlin, succinctly contextualizes issues that were already mainstays for the Werkbund, the prominent alliance of designers, businessmen, and government figures committed to raising design standards in Germany, of which she was a member. -
Modern Minoica As Religious Focus in Contemporary Paganism
The artifice of Daidalos: Modern Minoica as religious focus in contemporary Paganism More than a century after its discovery by Sir Arthur Evans, Minoan Crete continues to be envisioned in the popular mind according to the outdated scholarship of the early twentieth century: as a peace-loving, matriarchal, Goddess-worshipping utopia. This is primarily a consequence of more up-to-date archaeological scholarship, which challenges this model of Minoan religion, not being easily accessible to a non-scholarly audience. This paper examines the use of Minoan religion by two modern Pagan groups: the Goddess Movement and the Minoan Brotherhood, both established in the late twentieth century and still active. As a consequence of their reliance upon early twentieth-century scholarship, each group interprets Minoan religion in an idealistic and romantic manner which, while suiting their religious purposes, is historically inaccurate. Beginning with some background to the Goddess Movement, its idiosyncratic version of history, and the position of Minoan Crete within that timeline, the present study will examine the interpretation of Minoan religion by two early twentieth century scholars, Jane Ellen Harrison and the aforementioned Sir Arthur Evans—both of whom directly influenced popular ideas on the Minoans. Next, a brief look at the use of Minoan religious iconography within Dianic Feminist Witchcraft, founded by Zsuzsanna Budapest, will be followed by closer focus on one of the main advocates of modern Goddess worship, thealogian Carol P. Christ, and on the founder of the Minoan Brotherhood, Eddie Buczynski. The use of Minoan religion by the Goddess Movement and the Minoan Brotherhood will be critiqued in the light of Minoan archaeology, leading to the conclusion that although it provides an empowering model upon which to base their own beliefs and practices, the versions of Minoan religion espoused by the Goddess Movement and the Minoan Brotherhood are historically inaccurate and more modern than ancient. -
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. -
Aegean Painting in the Bronze Age
Cambridge University Press 978-0-521-86591-3 - The Cambridge History of: Painting in the Classical World Edited by J. J. Pollitt Excerpt More information C h a p t e r 1 AEGEAN PAINTING IN THE BRONZE AGE A n n e P. C h a p i n Th e frescoes discovered on the Palace site constitute a new epoch in the history of painting. Sir Arthur Evans, March 1901 1 N 5 APRIL 1900, new excavations led by Sir Arthur Evans at Knossos, Crete, were barely two weeks old when a mysterious fi gure in fresco was uncovered near the south propylon ( Fig. 1.1). “A great day”, Evans recorded in his journal as he noted the fi gure’s noble profi le, Obeautifully modeled arms, and tiny waist. It was, he observed “far and away the most remarkable human fi gure of the Mycenaean Age that has yet come to light.” Evans noted how even his workmen felt the painting’s spell, regarding its discov- ery as miraculous, the icon of a saint. Th e next morning, the Cretan man posted to guard the new fi nd told a story of how the wrathful saint had woken him at mid- night. Th e animals lowed and neighed, and there was, he said, “something about – but of a ghostly kind – φαντάζει [ fand á zi ] – it spooks!” 2 Th is incident more than a century ago encapsulates the reception of Aegean Bronze Age art, in which, even today, a lively mixture of fact, imagination, and emotion continues to influence its interpretation. -
Core Knowledge Art History Syllabus
Core Knowledge Art History Syllabus This syllabus runs 13 weeks, with 2 sessions per week. The midterm is scheduled for the end of the seventh week. The final exam is slated for last class meeting but might be shifted to an exam period to give the instructor one more class period. Goals: • understanding of the basic terms, facts, and concepts in art history • comprehension of the progress of art as fluid development of a series of styles and trends that overlap and react to each other as well as to historical events • recognition of the basic concepts inherent in each style, and the outstanding exemplars of each Lecture Notes: For each lecture a number of exemplary works of art are listed. In some cases instructors may wish to discuss all of these works; in other cases they may wish to focus on only some of them. Textbooks: It should be possible to teach this course using any one of the five texts listed below as a primary textbook. Cole et al., Art of the Western World Gardner, Art Through the Ages Janson, History of Art, 2 vols. Schneider Adams, Laurie, A History of Western Art Stokstad, Art History, 2 vols. Writing Assignments: A short, descriptive paper on a single work of art or topic would be in order. Syllabus created by the Core Knowledge Foundation 1 https://www.coreknowledge.org/ Use of this Syllabus: This syllabus was created by Bruce Cole, Distinguished Professor of Fine Arts, Indiana University, as part of What Elementary Teachers Need to Know, a teacher education initiative developed by the Core Knowledge Foundation. -
“Forms Assembled in the Light” Week One: Early Medieval Art
ART HISTORY Journey Through a Thousand Years “Forms Assembled in the Light” Week One: Early Medieval Art The Craftsmen Who Saved Civilisation - The Civilisation that Survived – Controversy Over Images – Decoding Anglo-Saxon Art - Basilicas - Illuminated Manuscripts – In Search of Three Dimensions – From the Vaults: The Lindau Gospels – Ottonian Art – The Bernward Doors - An Introduction to the Bestiary, Book of Beasts in the Medieval World - The painted crypt of San Isidoro at León, Spain By Megginede - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=45924271 “Great nations write their autobiographies in three manuscripts[;] the book of their deeds, the book of their words, and the book of their art. Not one of these works can be understood unless we read the two others, but of the three the only trustworthy one is the last.” – Ruskin Kenneth Clark: “The Craftsmen Who Saved Civilization” From Civilisation: A Personal View (1969) People sometimes tell me they prefer barbarism to civilization. I doubt if they have given it a long enough trial. Like the people of Alexandria they are bored by civilisation; but all the evidence suggests that the boredom of barbarism is infinitely greater. Quite apart from discomforts and privations, there was no escape from it. Very restricted company, no books, no light after dark, no hope. On one side of the sea battering away, on the other the infinite stretches of the bog and the forest. A most melancholy existence, and the Anglo- Saxon poets had no illusions about it: A wise man may grasp how ghastly it shall be When all this world’s wealth standeth waste Even as now, in many places over the earth, Walls stand windbeaten, Heavy with hoar frost; ruined habitations… The maker of men has so marred this dwelling That human laughter is not heard about it, And idle stand these old giant works. -
The Minoan Use and Social Significance of Saffron and Crocus Flowers
Rachel Dewan Bronze Age Flower Power: The Minoan Use and Social Significance of Saffron and Crocus Flowers Rachel Dewan While iconography of the natural world abounds in the art of the Bronze Age Minoan culture, one plant seems particularly prevalent; represented on ceramics, in wall-paintings, and on votive objects are numerous depictions of the crocus flower. The saffron spice, a product of the flower, was carefully recorded in Linear B texts, testifying to its importance as a valuable economic commodity, but its inclusion in highly detailed iconographic representations and the contexts within which they were found attest to a significance that extended beyond commercial import. Particularly associated with women in the spheres of Minoan industry, medicine, and religion, the pervasive importance of saffron and the crocus flower made it not only a valuable commodity throughout the Bronze Age Mediterranean world, but also an integral part of culture and identity for Minoan women. 42 Chronika Bronze Age Flower Power Introduction With floral scrolls, marine motifs, animal iconography, and vast landscapes evident in much of Minoan art, a connection between Minoan art and nature has been noted by scholars since Sir Arthur Evans first uncovered the remains of this Bronze Age culture in 1900.1 Indeed, the interpretation of the natural world’s significance to the Minoans has been perpetuated by the numerous depictions of Aegean flora and fauna, even exaggerated to the extent that the Minoans are sometimes referred to as the “hippies of the ancient world.”2 As overstated as this characterization may be, the natural world was clearly of great Figure 1: Map of the Aegean with significant Late Bronze significance for the Minoans, and further Age sites. -
AP Art History Chapter 4 Questions: Aegean Mrs
AP Art History Chapter 4 Questions: Aegean Mrs. Cook Key Terms: • Linear A/Linear B • labyrinth, citadel, cyclopean masonry, megaron, relieving triangle, post and lintel, corbelled arch, tholos, dome, dromos • true/wet fresco, Kamares Ware, faience, chryselephantine sculpture, relief sculpture, niello, repoussé Ideas/Concepts: 1. What are the basic differences between the cultures of Crete (Minoan) and mainland Greece Mycenaean 2. Compare and contrast Minoan and Mycenaean architecture (i.e. Palace of Knossos and the Citadel of Mycenaea.) 3. Why did the Mycenaean culture appropriate Minoan artifacts/images? 4. What is the role of women in religion/as goddess in Minoan culture? 5. How is abstraction/stylization used in Cycladic art and Karmares pottery? 6. What accounts for the difference in appearance (and content) of Minoan art (esp. frescos) in contrast to other ancient cultures (esp. the Egyptians)? Exercises for Study: 1. Enter the approximate dates for these periods: Early Cycladic: Minoan art: Mycenaean art: 2. Summarize the significant historical events and artistic developments of the prehistoric Aegean. 3. Compare and contrast the following pairs of artworks, using the points of comparison as a guide. A. Lion Gate, Mycenae, Greece, ca. 1300‐1250 BCE (Fig. 4‐19); Harvesters Vase, from Hagia Triada (Crete), Greece, ca. 1500‐1450 BCE (Fig. 4‐14); o Periods o Medium, materials & techniques o Subjects o Stylistic features & composition o Function B. Figurine of a woman, from Syros (Cyclades), Greece, ca. 2600‐2300 BCE (Fig. 4‐2); Female head, from Mycenae, Greece, ca. 1300‐1250 BCE o Periods o Medium, materials & techniques o Scale o Subjects o Stylistic features & composition o Probable function C. -
Early Medieval Art After the Collap
AP ART HISTORY STUDY SHEET Name: Date: Period: Gardener’s Notes Unit 10 - Chapter 16: Early Medieval Art After the collapse of the Roman Empire, Western Europe entered what is known as the Dark Ages. Power became decentralized, dispersed among various nomadic tribes. Trade among towns and outposts collapsed because the Roman legions were no longer present to maintain order. When comparing the art produced during early medieval times with the many achievements of the Roman Empire, it is obvious why historians first labeled the period the Dark Ages. However, recent discoveries and scholarship have uncovered works of art and architecture that reveal the presence of rich cultures between the years 500 and 1000 CE. For the AP Art History exam, the early Middle Ages includes four stages: (1) Art of the Warrior Lords, (2) Hiberno-Saxon Art, (2) Carolingian Art, and (4) Ottonian Art. The 2004 exam contained a slide-based short essay comparing a picture of a purse cover from Sutton Hoo, a site during the Warrior Lord Period, to ta carpet page from the Lindisfarne Gospels , a Hiberno-Saxon illuminated manuscript. Past tests also required students to discuss the characteristics of Carolingian illuminated manuscript. Multiple-choice questions have tested student’s recognition of a famous Ottonian church and its bronze doors. Early Medieval art is groups with Early Christian and Byzantine Art as 5 percent to 10 percent of the points on the AP Art History exam, which is a small percentage of the total points. Nonetheless, this chapter provides you with the necessary knowledge about the early Medieval period to prepare you for possible test questions. -
Establishing a Connection to Illuminated Manuscripts Made at Echternach in the Eighth and Eleventh Centuries and Issues of Patronage, Monastic Reform and Splendor
Peregrinations: Journal of Medieval Art and Architecture Volume 3 Issue 1 Special Ottonian Issue 49-82 2011 Establishing a Connection to Illuminated Manuscripts made at Echternach in the Eighth and Eleventh Centuries and Issues of Patronage, Monastic Reform and Splendor Stephen Wagner Savannah College of Art and Design Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Wagner, Stephen. "Establishing a Connection to Illuminated Manuscripts made at Echternach in the Eighth and Eleventh Centuries and Issues of Patronage, Monastic Reform and Splendor." Peregrinations: Journal of Medieval Art and Architecture 3, 1 (2010): 49-82. https://digital.kenyon.edu/perejournal/vol3/iss1/3 This Feature Article is brought to you for free and open access by Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Wagner Establishing a Connection to Illuminated Manuscripts made at Echternach in the Eighth and Eleventh Centuries and Issues of Patronage, Monastic Reform and Splendor By Stephen Wagner, Savannah College of Art and Design Introduction The monastery of Echternach made great contributions to the art of luxury manuscript production at two distinctive points in its long history.1 The first works appeared shortly after St. Willibrord established the foundation at the end of the seventh century, while the second wave of illustrated books, some of which were written in gold, occurred in the eleventh century.2 Scholarship on these manuscripts from both periods has contributed greatly to our understanding of this important art form in the Early Middle Ages, but it has treated the early examples separately from the later ones. -
Manuscript Cultures Manuscript Cultures Manuscript
mc NO 10 2017 mc NO 10 2017 manuscript cultures manuscript Hamburg | Centre for the Study of Manuscript Cultures ISSN 1867–9617 cultures ISSN 1867–9617 © SFB 950 “Manuskriptkulturen in Asien, Afrika und Europa” Universität Hamburg Warburgstraße 26 www.manuscript-cultures.uni-hamburg.de D-20354 Hamburg N O 10 PUBLISHING INFORMATION | MANUSCRIPT CULTURES Publishing Information Forthcoming 10 - Dividing Texts: Visual Text-Organization in North Indian and Nepalese Manuscripts by Bidur Bhattarai The number of manuscripts produced in the Indian sub- Editors Editorial Office continent is astounding and is the result of a massive Prof Dr Michael Friedrich Dr Irina Wandrey enterprise that was carried out over a vast geographical area Universität Hamburg Universität Hamburg and over a vast stretch of time. Focusing on areas of Northern Asien-Afrika-Institut Sonderforschungsbereich 950 India and Nepal between 800 to 1300 ce and on manuscripts Edmund-Siemers-Allee 1/ Flügel Ost ‘Manuskriptkulturen in Asien, Afrika und Europa’ containing Sanskrit texts, the present study investigates a D-20146 Hamburg Warburgstraße 26 fundamental and so far rarely studied aspect of manuscript Tel. No.: +49 (0)40 42838 7127 D-20354 Hamburg production: visual organization. Scribes adopted a variety Fax No.: +49 (0)40 42838 4899 Tel. No.: +49 (0)40 42838 9420 of visual strategies to distinguish one text from another [email protected] Fax No.: +49 (0)40 42838 4899 and to differentiate the various sections within a single [email protected] text (chapters, sub-chapters, etc.). Their repertoire includes Prof Dr Jörg Quenzer the use of space(s) on the folio, the adoption of different Universität Hamburg Layout writing styles, the inclusion of symbols of various kind, Asien-Afrika-Institut Astrid Kajsa Nylander the application of colors (rubrication), or a combination of Edmund-Siemers-Allee 1/ Flügel Ost all these.