Distribution of Subject Matter of Art History Courses
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Adults; Age Differences; *Art Education; Art Cultural Influences
DOCUMENT RESUME ED 252 457 SO 016 108 AUTHOR Hamblen, Karen A. TITLE Artistic Development as a Process of Universal-Relative Selection Possibilities. PUB DATE lot 84 NOTE 41p.; Paper presented at the National Symposium for Research in Art Education (Champaign-Urbana, IL, October 2-5, 1984). PUB TYPE Viewpoints (120) -- Information Analyses (070) Speeches /Conference Papers (150) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Adults; Age Differences; *Art Education; Art Expression; Biological Influences; *Child Development; *Childrens Art; Cultural Context; Cultural Influences; Developmental Stages; Social Influences; *Talent Development ABSTRACT The assumptions of stage theory and major theories of child art are reviewed in order to develop an explanation of artistic expression that allows for variable andpo:nts and accounts for relationships between children's drawings and adult art. Numerous studies indicate strong similarities among children's early drawings, which suggests that primarily universal factors of influence are operative. Cross-cultural similarities and differences among adult art suggest that universal factors are still operative although relative factors predominate. A model of artistic selection possibilities is developed based on the premise that art consists of options selected from universal and relative domains, circumscribed by the imperatives of time, place, and level of skill acquisition. Similarities and differences between child and adult art as well as variable personal and cultural endpoints are accounted for when artistic development can be described as a selection process rather than a step-by-step predefined progression. (Author/KC) *********************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * ***********************************************$.*********************** Universal-Relative Selection Possibilities 1 U.S. -
Catalonia 1400 the International Gothic Style
Lluís Borrassà: the Vocation of Saint Peter, a panel from the Retable of Saint Peter in Terrassa Catalonia 1400 The International Gothic Style Organised by: Museu Nacional d'Art de Catalunya. From 29 March to 15 July 2012 (Temporary Exhibitions Room 1) Curator: Rafael Cornudella (head of the MNAC's Department of Gothic Art), with the collaboration of Guadaira Macías and Cèsar Favà Catalonia 1400. The International Gothic Style looks at one of the most creative cycles in the history of Catalan art, which coincided with the period in western art known as the 'International Gothic Style'. This period, which began at the end of the 14th century and went on until the mid-15th century, gave us artists who played a central role in the history of European art, as in the case of Lluís Borrassà, Rafael Destorrents, Pere Joan and Bernat Martorell. During the course of the 14th century a process of dialogue and synthesis took place between the two great poles of modernity in art: on one hand Paris, the north of France and the old Netherlands, and on the other central Italy, mainly Tuscany. Around 1400 this process crystallised in a new aesthetic code which, despite having been formulated first and foremost in a French and 'Franco- Flemish' ambit, was also fed by other international contributions and immediately spread across Europe. The artistic dynamism of the Franco- Flemish area, along with the policies of patronage and prestige of the French ruling House of Valois, explain the success of a cultural model that was to captivate many other European princes and lords. -
The Romantic Movement on European Arts: a Brief Tutorial Review
SCIENTIFIC CULTURE, Vol. 1, No 2, (2015), pp. 39-46 Copyright © 2015 SC Open Access. Printed in Greece. All Rights Reserved. The Romantic Movement on European arts: a brief tutorial review Anna Lazarou Academy of Athens, 84 Solonos Str., Athens 10680, Greece ([email protected]; [email protected]) Received: 10/01/2015 Accepted: 25/02/2015 ABSTRACT The movement of romanticism in art (18th-19th c) is briefly reviewed. This artistic movement institutionalized freedom of personal expression of the artist and presented various art styles, which were rooted mainly in topics of the past. One of the manifestations of the romantic spirit was Neoclassicism which was based on copies of works of Greek and Roman antiquities. Romantic painters, musicians and architects have left as heritage an amazing wealth of art works. KEYWORDS: art, architecture, music, romance, artistic movement, neoclassicism. 40 Anna Lazarou 1. INTRODUCTION his vision was a European empire with its capital The period from the second half of the 18th century Paris. The economic downturn that led to wars and until the first half of the 19th century in western social changes created by the Industrial Revolution, Europe was of a multidimensional character both in made Europeans to feel trapped by events that ex- art and in other fields of intellectual life, expressed ceeded the control, which could not be explained by by the romance, the first great movement of ideas of rational perception. Even Napoleon's career was for that era e.g. architecture, music, literature (Blayney many a supernatural power and his defeat, a divine judgment (Fig.1). -
The Image of Early Netherlandish Art in the Long Nineteenth Century
ALISON HOKANSON & EDWARD H. WOUK The past is always present: The image of early Netherlandish art in the long nineteenth century In 1881, the American collector Stephen Whitney Phoenix bequeathed to the Metropolitan Museum of Art in New York a painting by the artist Wilhelm (Guillaume) Koller (1829- 1884/1885) entitled Hugo van der Goes painting the portrait of Mary of Burgundy (fijig. 1). Koller, who trained in Vienna and Düsseldorf, moved in 1856 to Belgium, where he exhibited this painting at the Brussels Salon of 1872.1 The picture imagines an encounter between Van der Goes (ca. 1440-1482) and Mary of Burgundy (1457-1482), shown as a child seated on the lap of her young stepmother Margaret of York (1446-1503). Behind them is likely 1 Charles the Bold (1433-1477), who married Margaret after the death of Mary’s mother, Wilhelm (Guillaume) Koller, Hugo 2 van der Goes painting the portrait Isabella of Bourbon (1434-1465). Koller’s painting offfered nineteenth-century audiences of Mary of Burgundy, ca. 1872, an appealing, if fijictional, image of an esteemed northern European artist depicting a oil on panel, 59.4 x 86.4 cm, New York, The Metropolitan moment in the domestic life of a noble dynasty closely identifijied with the history and Museum of Art, inv. 81.1.662. heritage of Belgium.3 146 Oud Holland 2020 - 3/4 volume 133 Downloaded from Brill.com09/27/2021 04:53:44PM via free access Koller specialized in genre scenes celebrating fijifteenth- and ixteenth-centurys European culture, and particularly that of present-day Belgium, Austria, and Germany. -
EARLY NETHERLANDISH PAINTING Part One
EARLY NETHERLANDISH PAINTING part one Early Netherlandish painting is the work of artists, sometimes known as the Flemish Primitives, active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance, especially in the flourishing cities of Bruges, Ghent, Mechelen, Leuven, Tounai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568. Early Netherlandish painting coincides with the Early and High Italian Renaissance but the early period (until about 1500) is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy; although beginning in the 1490s as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic. Robert Campin (c. 1375 – 1444), now usually identified with the Master of Flémalle (earlier the Master of the Merode Triptych), was the first great master of Flemish and Early Netherlandish painting. Campin's identity and the attribution of the paintings in both the "Campin" and "Master of Flémalle" groupings have been a matter of controversy for decades. Campin was highly successful during his lifetime, and thus his activities are relatively well documented, but he did not sign or date his works, and none can be confidently connected with him. -
Middle Byzantine Aesthetics and the Incomparability of Islamic
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2010 Middle Byzantine Aesthetics and the Incomparability of Islamic Art: The Architectural Ekphraseis of Nikolaos Mesarites Alicia Walker Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Custom Citation Alicia Walker, "Middle Byzantine Aesthetics and the Incomparability of Islamic Art: The Architectural Ekphraseis of Nikolaos Mesarites," Muqarnas 27 (2010): 79-101. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/57 For more information, please contact [email protected]. ALICIA WALKER MIDDLE BYZANTINE AESTHETICS OF POWER AND THE INCOMPARABILITY OF ISLAMIC ART: THE ARCHITECTURAL EKPHRASEIS OF NIKOLAOS MESARITES An early thirteenth-century historical treatise, The between churches and this building, or between sacred Palace Revolt of John Komnenos by Nikolaos Mesa and imperial icons and the images on the ceiling ofthe rites, an author of the middle Byzantine period (ca. Mouchroutas. Rather, these juxtapositions were con 843-1204), contains a passage that briefly describes an structed by Mesarites and indicate his reception of, not Islamic-style building, the Mouchroutas, which was part the original intentions behind, the Islamicizing work of of the imperial palace complex in Constantinople (see art. Appendix).l The author emphatically states that the Nikolaos Mesarites (d. ca. 1214) was a Byzantine structure was the work of "a Persian hand," that is to courtier from a prominent family. -
The Medieval Period
PICTURING HISTORY | The Medieval Period PICTURING HISTORY: The Medieval Period A Teacher’s Resource Guide for Using Art to Teach 7th Grade Social Studies and ELA A PICTURING HISTORY | The Medieval Period How to Use These Materials The materials presented here are developed with the IN THIS middle school student in mind. The focus is on social studies, English language arts (ELA) and visual arts content. All lesson plans are aligned to the Common GUIDE Core Standards. What is Picturing Tips for Using This Guide History? ...................................... 01 • Review the guide and lesson plans. Some of the WHAT IS lesson plans require you to select an image for Pre-Visit Lesson Plan.............. 05 discussion. Images of art from the collection of the Toledo Museum of Art can be viewed online at PICTURING Tour Summary ......................... 09 http://emuseum.toledomuseum.org/collections. Consider showing these works of art on a smart Post-Visit Lesson Plan ............ 10 board in your classroom. HISTORY? • To make the most of this guide, we recommend Visual Art Lesson Plan ........... 15 completing the pre-visit lesson plan before your Picturing History is a field trip program offered by the Toledo visit to TMA. You can customize these lessons Museum of Art for 6th-8th grade students. The program aims to Additional Resources ............ 20 with the suggested extension activities to enhance support students’ visual literacy, historical thinking and writing students’ connections with social studies, ELA and skills through the exploration of the TMA collection. During a Glossery ...................................... 21 visual arts content. Picturing History visit, Museum docents engage students in a • Take your tour experience back to the classroom series of gallery-based activities designed to help them develop by completing the post-visit lesson plan after descriptive language and become excited about social studies. -
Dana Jenei, Gothic in Transylvania. the Painting (C
Book Reviews / Buchrezensionen Dana Jenei, Gothic in Transylvania. The Painting (c. 1300-1500), Oscar Print Publishing House, București, 2016, 240 p., 156 il., with a foreword by Răzvan Theodorescu Adrian Stoia* As the author has already accustomed us with her previous works, this new volume is printed in exquisite graphical conditions. The book presents two centuries of Western painting created in Tran- sylvania, an area situated at the border of Western European culture. More precisely, it refers to the flourishing period of the Gothic art, stimulated by the development of urban and rural communities invited here by the Hun- garian crown, until the political and religious changes caused by the fall of the Hungarian Kingdom under the Turks and the dawn of the Reformation, when numerous works of the Catholic art were destroyed. As the author states, the book presents the research “started in faculty and first materialized in the PhD thesis”, defended in 2005 at the National University of Arts in Bucharest, with the scientific information updated to 2016, and “presented in the spirit of the «new manner of writing history» of the French School of Les Annales” (pp. 10-11). The volume opens with a brief analysis of the state of research in the field (pp. 11-13), continued by the chapterTransylvania in late Middle Ages (pp. 14-26), divided into four parts: Historical sketch, The crisis of „the security symbols”, New religious sensitivity and Care for life after death. Here are men- tioned the anxieties of the Transylvanian society – the war, the famine and the plague”– the permanent Ottoman menace, the economic, medical and climate problems that Medieval Europe has faced. -
ART-102 History of Art and Visual Culture to 1400
Bergen Community College Division of Arts and Humanities Department of Arts & Communication Course Syllabus Art 102 History of Art and Visual Culture to 1400 Three Credits - Three Hours I. Catalogue Description: History of Art and Visual Culture to 1400 is a chronological survey of art and visual culture, western and non-western, from the Mesopotamian period through the Middle Ages. In a lecture and discussion format, selected works of sculpture, architecture, and painting as well as decorative utilitarian objects made by peoples in Europe, the Middle East, India, Asia and Africa are studied both for their styles and materials and their relation to politics, religion and patronage. II. Student Learning Objectives: As a result of meeting the requirements of this course, students will be able to A. Identify major periods of art history, and exemplary works of art and visual culture, from ca. 3500 bce to ca. 1400, in western and non-western societies B. Define and use vocabulary of visual analysis in speech and writing C. Describe the materials used and the techniques employed to make works of art in a variety of media in these periods and cultures D. Describe how political, religious and economic situations influence the creation of works of art and their meaning and significance E. Analyze the difference between perceiving a work of art viewed on the internet and the same work experienced directly within a museum context. III. Course Content: A. Course Orientation 1. Procedures and requirements 2. Structure of course 3. Explanation of special features: museum visits 4. Evaluation methods B. Ancient Art 1. -
European Romantic Perception of the Middle Ages: Nationalism and the Picturesque
EUROPEAN ROMANTIC PERCEPTION OF THE MIDDLE AGES: NATIONALISM AND THE PICTURESQUE NÚRIA PERPINYÀ UNIVERSITAT DE LLEIDA SpaIN Date of receipt: 7th of July, 2012 Final date of acceptance: 12th of December, 2012 ABSTRACT The aims of this study1 are theoretical and comparative. It contains a theoretical section describing the 18th and 19th centuries visions of the Middle Ages (admirable, critical and indifferent). Then, the relationships with the European romantics, including the Catalans, are studied. The folkloric and nationalism are presented as bridges between the two epochs. The history of the 17th and 18th centuries Picturesque is reviewed and a new view of it is presented. Instead of conceiving it as a minor aesthetic, I propose it as a precedent for the avant-garde given its defence of the irregular and the badly done. Furthermore, the 19th century idea of paradise lost was conceptualised around four axes (past, infancy, nature and art) and I propose a fifth (ethnicity)2 for the 21st century. KEY WORDS Picturesque, Nationalist, Romantic Medievalism, Paradise Lost, Catalan. CAPITALIA VERBA Mirifice describere, Nationis ratio, Romanticum Medium Aevum, Paradisus Amissus, Catalaunienses. 1. This article is developed within the framework of the research project “Identity, Memory and Ideology in the Middle Ages” (HAR 2009-08598/HIST) 2. Although the concept of “ethnicity” is anti-scientific and outdated, I mention it because it was a relevant concept in the 19th century that, unfortunately, continues to be used in the 21st, as I explain below. IMAGO TEMPORIS. MEDIUM AEVUM, VI (2012): 23-47. ISSN 1888-3931 23 24 NÚRIA PERPINYÀ 1. -
Vincent Caranchini Student Portfolio
Vincent Caranchini Ancient Egyptian Temple- Justin Keller Student Portfolio 1 2 History of Interiors: Justin Keller, Deqi Qin & Katie Eastman 3 4 Ancient Egypt began to take form as a country around 3100 B.C.E. and was located along the Nile River. The Egyptians are known for their monumental struc- tures and buildings such as the great Pyramids of Giza and numerous other temples. These massive structures were made of stone and bricks that they Egyptians gathered or made. The important structures (those for the gods and pharaohs) were adorned with gold, painted with bright colors, and covered with patterns and drawings. The interior was decorated just as heavily. Intricate patterns were used on the walls and in other Egyptian artwork. Pottery(1) was a popular form of art in this time. Their pots were used for storage and also decoration. The columns(2) were adorned with patterns that were taken from nature and simplified. The columns themselves also showed the rhythm of nature in their flower capitals. These forms were taken directly from original method of tying reeds together to make a column. The Sphinx(3) was an important part of Egyptian culture. A sphinx consists of the body of a lion and the head of another animal. The chairs(4) and benches(5) were intricately carved and covered with gold and fabric. These objects were common for the interior of an Egyptian temple. 5 Baroque (Rococo) Perspective Deqi Kin Louis XV Gilt and Grey Marble Top Console from the S. of France PLACE OF ORIGIN: France DATE OF MANUFACTURE: Mid 18th C. -
Art History 1 - Introduction to Ancient and Classical Art
Art History 1 - Introduction To Ancient And Classical Art Lecturer: Yael Young (Ph.D) The course surveys the history of art of the civilizations that existed in the ancient East and the Mediterranean basin from the third millennium BC to late antiquity. We begin with a brief discussion of ancient Egypt and continue with a discussion of the Greek and Roman cultures. The purposes are: (a) to recognize the development of the art and architecture characteristic of each culture, with detailed discussion of the technique, form and content of selected works in a wide variety of mediums; (b) to understand what are the issues that concerned the ancient people and how they presented them visually; (c) What challenges ancient artists faced and what solutions are found to express diverse ideas; and (d) to meet the artistic traditions that have evolved in the different cultures, and the changes that occurred in those traditions over time. An exam will be held at the end of course. The maximum grade is 100 points. It includes three parts: a - Identifying artworks studied in the course; b - Multiple choice questions; c - matching pictures to concepts. Art History 2 - Introduction to Medieval Art Lecturer: Guy Tal (Ph.D( “ Middle Ages” and “Dark Ages” are pejorative terms for a period spanning over a thousand years (300-1300) coined by Renaissance humanists who perceived the art of that era as a complete deviation from the Classical aesthetics. This claim, as this course shows, is fundamentally erroneous. Medieval art is rich in artworks affected by Classical culture. Extravagant cathedrals, colorful stained glass, extensive mosaics, and manuscripts embellished with spectacular ornaments are only a few works from Early Christian Art, through Byzantine, Carolingian, and Romanesque art, to Gothic Art.