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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Art 258: Ancient and Medieval Art Spring 2016 Sched#20203
Art 258: Ancient and Medieval Art Spring 2016 Sched#20203 Dr. Woods: Office: Art 559; e-mail: [email protected] Office Hours: Monday and Friday 8:00-8:50 am Course Time and Location: MWF 10:00 – 10:50 HH221 Course Overview Art 258 is an introduction to western art from the earliest cave paintings through the age of Gothic Cathedrals. Sculpture, painting, architecture and crafts will be analyzed from an interdisciplinary perspective, for what they reveal about the religion, mythology, history, politics and social context of the periods in which they were created. Student Learning Outcomes Students will learn to recognize and identify all monuments on the syllabus, and to contextualize and interpret art as the product of specific historical, political, social and economic circumstances. Students will understand the general characteristics of each historical or stylistic period, and the differences and similarities between cultures and periods. The paper assignment will develop students’ skills in visual analysis, critical thinking and written communication. This is an Explorations course in the Humanities and Fine Arts. Completing this course will help you to do the following in greater depth: 1) analyze written, visual, or performed texts in the humanities and fine arts with sensitivity to their diverse cultural contexts and historical moments; 2) describe various aesthetic and other value systems and the ways they are communicated across time and cultures; 3) identify issues in the humanities that have personal and global relevance; 4) demonstrate the ability to approach complex problems and ask complex questions drawing upon knowledge of the humanities. Course Materials Text: F. -
The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. -
The Medici Aphrodite Angel D
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 A Hellenistic masterpiece: the Medici Aphrodite Angel D. Arvello Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Arvello, Angel D., "A Hellenistic masterpiece: the Medici Aphrodite" (2005). LSU Master's Theses. 2015. https://digitalcommons.lsu.edu/gradschool_theses/2015 This Thesis 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 Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A HELLENISTIC MASTERPIECE: THE MEDICI APRHODITE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Angel D. Arvello B. A., Southeastern Louisiana University, 1996 May 2005 In Memory of Marcel “Butch” Romagosa, Jr. (10 December 1948 - 31 August 1998) ii ACKNOWLEDGMENTS I wish to acknowledge the support of my parents, Paul and Daisy Arvello, the love and support of my husband, Kevin Hunter, and the guidance and inspiration of Professor Patricia Lawrence in addition to access to numerous photographs of hers and her coin collection. I would also like to thank Doug Smith both for his extensive website which was invaluable in writing chapter four and for his permission to reproduce the coin in his private collection. -
Homo Aestheticus’
Conceptual Paper Glob J Arch & Anthropol Volume 11 Issue 3 - June 2020 Copyright © All rights are reserved by Shuchi Srivastava DOI: 10.19080/GJAA.2020.11.555815 Man and Artistic Expression: Emergence of ‘Homo Aestheticus’ Shuchi Srivastava* Department of Anthropology, National Post Graduate College, University of Lucknow, India Submission: May 30, 2020; Published: June 16, 2020 *Corresponding author: Shuchi Srivastava, Assistant Professor, Department of Anthropology, National Post Graduate College, An Autonomous College of University of Lucknow, Lucknow, India Abstract Man is a member of animal kingdom like all other animals but his unique feature is culture. Cultural activities involve art and artistic expressions which are the earliest methods of emotional manifestation through sign. The present paper deals with the origin of the artistic expression of the man, i.e. the emergence of ‘Homo aestheticus’ and discussed various related aspects. It is basically a conceptual paper; history of art begins with humanity. In his artistic instincts and attainments, man expressed his vigour, his ability to establish a gainful and optimistictherefore, mainlyrelationship the secondary with his environmentsources of data to humanizehave been nature. used for Their the behaviorsstudy. Overall as artists findings was reveal one of that the man selection is artistic characteristics by nature suitableand the for the progress of the human species. Evidence from extensive analysis of cave art and home art suggests that humans have also been ‘Homo aestheticus’ since their origins. Keywords: Man; Art; Artistic expression; Homo aestheticus; Prehistoric art; Palaeolithic art; Cave art; Home art Introduction ‘Sahityasangeetkalavihinah, Sakshatpashuh Maybe it was the time when some African apelike creatures to 7 million years ago, the first human ancestors were appeared. -
Fragile Gods: Ceramic Figurines in Roman Britain Volume 1
Fragile Gods: Ceramic Figurines in Roman Britain Volume 1 Thesis submitted for the degree of Doctor of Philosophy Department of Archaeology, University of Reading Matthew G. Fittock December 2017 Declaration I certify that this is my own work and that use of material from other sources has been properly and fully acknowledged in the text. I have read the University’s definition of plagiarism and the department’s advice on good academic practice. I understand that the consequence of committing plagiarism, if proven and in the absence of mitigating circumstances, may include failure in the Year or Part or removal from the membership of the University. I also certify that neither this piece of work, nor any part of it, has been submitted in connection with another assessment. Signature: Date: i Abstract As small portable forms of statuary, pipeclay objects provide a valuable insight into the religious beliefs and practices of the culturally mixed populations of the Roman provinces. This thesis provides a complete catalogue of the nearly 1000 published and unpublished pipeclay objects found in Britain, including figurines, busts, shrines, animal vessels and masks. This research is the first study of this material conducted since the late 1970s. Pipeclay objects were made in Gaul and the Rhine-Moselle region but not in Britain. Attention thus focuses on where and how the British finds were made by analysing their styles, types, fabrics and any makers’ marks. This reveals how the pipeclay market in Britain was supplied and how these objects were traded, and suggests that cultural rather than production and trade factors were more influential on pipeclay consumption in Britain. -
Paleolithic 3 Million + 10,000 BCE
The Rupture “This is where we should look for the earliest origins, long before the age of metals, because it was about 300,000 years ago that the “fire pit” was starting to be utilized with some stone, wood and bone.. Silo - 2004 Paleolithic 3 Million + 10,000 BCE The term Paleolithic refers to the « Old Stone Age » The Paleolithic period begins with the first evidence of human technology (stone tools) more than three million years ago, and ends with major changes in human societies instigated by the invention of agriculture and animal domestication. Paleolithic, Lower, Middle and Upper Lower Paleolithic 3 Million + - 300,000 BCE the Lower Paleolithic, from the earliest human presence (Homo antecessor and Homo heidelbergensis) to the Holstein interglacial, c. 1.4 to 0.3 million years ago. Middle Paleolithic 300,000 – 40,000 BCE the Middle Paleolithic, marked by the presence of Neanderthals, 300,000 to 40,000 years ago Upper Paleolithic 45,000 – 12,000 BCE the Upper Paleolithic, c. 45,000 to 12,000 years ago, marked by the arrival of anatomically modern humans and extending throughout the Last Glacial Maximum The Aurignacian Period – 40,000-28,000 BCE • The Aurignacian cultural tradition is generally accepted as the first modern humans in Europe. • During this period an explosion of sudden and innovative changes take place. People begin to use musical instruments which indicates possible ceremony, ritual and dance. Plus all forms of art appears at this time which signifies the full emergence of modern symbolic expression. • The most significant development in stone tool making is the refinement of the manufacture of blades struck off conical cores or nuculi. -
Herculaneum Archaeology
Defining Beauty - Alistair Thorley A First Hand Experience of the Apolline Project - Iona Hampson The Ancient Graffiti Project - Rebecca Benefiel & Jacqueline DiBiasie 2014 Southeastern College Art Conference - Lisa Gastrell The First Herculaneum Summer School - Sarah Hendriks Bronze sculpture from the Villa of the Papyri , Museo Archeologico Nazionale Napoli herculaneum archaeology herculaneum Society - Issue 19 Summer 2015 of the Friends Herculaneum the newsletter Defining beauty - the body in Ancient Greek art A Review of the recent exhibition at the British Museum by Alistair Thorley Head of Classics, Stockport Grammar School Defining beauty is about as easy as raising children or trusting politicians and so the latest superstar British Museum exhibition is ambitious in its scope. The first darkened room showcases five of Classical Greece’s best attempts to define the indefinable, all dramatically spotlit. Ilissos, the river god whose turbulent course has flowed from Athens to London and then, most recently, to St. Petersburg and back, has a beauty where flesh, drapery and water coalesce across his body. Apoxyomenos radiates a self-confidence in his muscular body. Doryphoros (via Georg Römer’s stunning bronze copy) finds beauty in mathematical perfection. The beauty of the Townley Diskobolos lies in the grace he achieves despite his clenched crouch. However, newspaper coverage of the exhibition has focused on the one female statue amidst the buff young males. The opening of the exhibition is Aphrodite’s bottom. The statue is turned 180 degrees from the angle at which she is normally first encountered on the way to the Duveen Gallery. It is easy to see why we start this way. -
Re-Presentations of Palaeolithic Visual Imagery: Simulacra and Their Alternatives'
Re-Presentations of Palaeolithic Visual Imagery: Simulacra and their Alternatives' Marcia-Anne Dobres Introduction A long-standing methodological and epistemological split within Palaeolithic archaeology has led to what is recognized today as an unrealistic and highly problematic reconstruction of prehistoric people. My discussion is intended to unravel some of the many threads that have been used to weave this simulacrum, this "identical copy for which no original has ever existed" (Jameson 1984:66; following Beaudrillard 1983). The reasons for taking critical stock of ourselves and our interpretations lies in the fact that we unknowingly bring a multitude of paradigmatic and personal biases to our research that often systematically color our methodologies, our epistemologies, and our interpretations. More importantly, however, these biases often go undetected precisely because they are so systematic and ubiquitous. Legitimation of the present by referencing simulacra standing as the past becomes an issue of concern once we recognize the subtle yet powerful ways the past is part of our present. This important point is developed in detail below. It thus remains that we endeavor to be clear about what we say, and to consider long and hard the lines of reasoning we employ in reconstructing prehistoric life. In the spirit of constructive criticism then, this paper proposes to explore some of the sociopolitical and hiellectual contexts in which the study of prehistoric visual imagery has taken place - and continues to take place even today. I seek to understand not-only how these interpretations have been developed, but to consider their implications vis-a-vis the larger sociopolitical framework in which archaeology is practiced. -
Higher National Unit Specification General Information Unit Title: Body Painting Skills for Make-Up Artists (SCQF Level 7) Unit
Higher National Unit Specification General information Unit title: Body Painting Skills for Make-up Artists (SCQF level 7) Unit code: J1N4 34 Superclass: LE Publication date: September 2020 Source: Scottish Qualifications Authority Version: 02 Unit purpose This unit is designed to enable learners to develop make-up skills appropriate to body painting and is ideal for learners following a career in the make-up artistry industry. Learners will research a variety of body painting techniques to include freehand and airbrushing and demonstrate a high level of creativity and imagination within their body painting designs and finished looks. Outcomes On successful completion of the unit the learner will be able to: 1 Research body painting looks, products, equipment and current application techniques. 2 Plan a range of body painting looks incorporating current application techniques. 3 Perform the planned body painting looks to include product removal and aftercare advice. Credit points and level 1 Higher National Unit credit at SCQF level 7: (8 SCQF credit points at SCQF level 7) Recommended entry to the unit Entry to this unit is at the discretion of the centre. However, it is recommended that learners should have knowledge of basic design principles and the practical aptitude and dexterity to apply the products and techniques involved in body painting. J1N4 34, Body Painting Skills for Make-up Artists (SCQF level 7) 1 Higher National Unit Specification: General information (cont) Unit title: Body Painting Skills for Make-up Artists (SCQF level 7) Core Skills Achievement of this Unit gives automatic certification of the following Core Skills component: Core Skill component Critical Thinking at SCQF level 5 Planning and Organising at SCQF level 5 There are also opportunities to develop aspects of Core Skills which are highlighted in the Support Notes of this Unit specification. -
Chapter 55 Unified Development Code
Code of Ordinances City of Ann Arbor, Michigan Chapter 55 Unified Development Code Adopted: July 16, 2018 With Amendments Through: February 14, 2021 Supplement History Table Ordinance No. Date Adopted Effective Date ORD-18-06 7-16-2018 7-26-2018 ORD-18-20 8-23-2018 10-31-2018 ORD-18-22 8-23-2018 11-4-2018 ORD-19-15 6-3-2019 6-16-2019 ORD-19-16 6-3-2019 6-16-2019 ORD-19-17 7-1-2019 7-21-2019 ORD-19-26 8-19-2019 9-22-2019 ORD-19-27 9-3-2019 9-22-2019 ORD-19-28 9-3-2019 9-2019 ORD-19-32 10-7-2019 10-27-2019 ORD-19-34 11-4-2019 11-17-2019 ORD-20-18 6-6-2020 7-19-2020 ORD-20-27 12-7-2020 12-20-2020 ORD-20-30 12-21-2020 1-10-2021 ORD-20-33 1-4-21 1-31-2021 ORD-20-34 1-19-21 2-14-2021 ORD-20-35 1-19-21 2-14-2021 With Amendments Through: February 14, 2021 Page 2 Chapter 55 ............................................................................................................................ 10 Ann Arbor Unified Development Code .......................................................................... 10 Article I: General Provisions ............................................................................................ 10 5.1 Authority ...............................................................................................................................10 5.2 Title ........................................................................................................................................10 5.3 Effective Date .......................................................................................................................10 -
817 Adult Uses
817. ADULT USES 817.010. DEFINITIONS. (A) Adult Uses. Adult uses include adult book stores, adult motion picture theatres, adult mini-motion picture theatres, adult massage parlors, adult steam room/bathhouse/sauna facilities, adult companionship establishments, adult rap/conversation parlors, adult health/sport clubs, adult cabarets, adult novelty businesses, adult motion picture arcades, adult modeling studios, adult hotels/motels, adult body painting studios, and other premises, enterprises, establishments, businesses or places open to some or all members of the public, at or in which there is an emphasis on the presentation, display, depiction or description of "specified sexual activities" or "specified anatomical areas" which are capable of being seem by members of the public. Activities classified as obscene as defined by Minnesota Statutes 617.241 are not included. (B) Adult Use - Accessory. The offering of goods and/or services which are classified as adult uses on a limited scale and which are incidental to the primary activity and goods and/or services offered by the establishment. Examples of such items include adult magazines, adult movies, adult novelties, and the like. (C) Adult Uses - Principal. The offering of goods and/or services which are classified as adult uses as a primary or sole activity of a business or establishment and include but are not limited to the following: 1. Adult Use - Body Painting Studio. An establishment or business which provides the service of applying paint or other substance, whether transparent or non-transparent, to or on the body of a patron when such body is wholly or partially nude in terms of "specified anatomical areas".