Art 11 Introduction to Art History
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Installation Art in India: Concepts and Roots
[Aaftab *, Vol.4 (Iss.10): October, 2016] ISSN- 2350-0530(O) ISSN- 2394-3629(P) IF: 4.321 (CosmosImpactFactor), 2.532 (I2OR) Arts INSTALLATION ART IN INDIA: CONCEPTS AND ROOTS Mohsina Aaftab *1 *1 Research Scholar, Department of Fine Arts, A.M.U., Aligarh, INDIA DOI: 10.5281/zenodo.164831 ABSTRACT Present study focuses on the new media Installation Art in India, its present scenario, and backgrounds. Essentially installation art has taken its heritage from conceptual art, which came into prominence in 1970s, when the concept or idea was prominent – when an artist uses a conceptual form of art which means that all of the arrangement and conclusion are made previously and the implementation is an obligatory concern. So, spontaneously idea became a machine that makes the art. An idea suddenly pops in his mind and he just implemented it, in his very own way. This kind of art does not narrow itself to gallery spaces and can refer to any materials intervention in everyday public or private spaces. After India became independent, art began to change here. considerately several movements and group bounced up all over the country headed by ambitious young artists with vision of bringing modern art to India. Now the art of India is totally changed. Contemporaries are not bound to use paper and canvas, wall or any other art surfaces. They are not bound to make mythological paintings or sculptures but they are free to do anything, they are free to use any medium, material and space they want. After a European artist Marcel Duchamp’s “ready-mades artist” started exploring the margin of art, trying to eliminate the contrast between art and life. -
AP Art History Unit Sheet #21 Romanticism, Realism, and Photography
AP Art History Unit Sheet #21 Romanticism, Realism, and Photography Works of Art Artist Medium Date Page # 27‐1: Napoleon at the Plague House at Jaffa Gros Painting 1804 754 27‐2: Coronation of Napoleon David Painting 1805‐1808 757 27‐4: Pauline Borghese as Venus Canova Sculpture 1808 759 27‐6: Apotheosis of Homer Ingres Painting 1827 761 27‐7: Grande Odalisque Ingres Painting 1814 761 27‐8: The Nightmare Fuseli Painting 1781 762 27‐9: Ancient of Days Blake Painting 1794 763 27‐10: The Sleep of Reason Produces Monsters Goya Painting 1798 763 27‐11: Third of May, 1808 Goya Painting 1814‐1815 764 27‐13: The Raft of the Medusa Gericault Painting 1819 765 27‐16: Liberty Leading the People Delacrois Painting 1830 768 27‐19: Abbey in the Oak Forest Friedrich Painting 1810 771 27‐21: The Haywain Constable Painting 1821 772 27‐22: The Slave Ship Turner Painting 1840 773 27‐23: The Oxbow ColePainting1836 773 27‐26: The Stone Breakers Courbet Painting 1849 775 27‐27: Burial at Ornans Courbet Painting 1849 776 27‐28: The Gleaners Millet Painting 1857 777 27‐30: Third Class Carriage Daumier Painting 1862 779 27‐31: The Horse Fair Bonheur Painting 1853‐1855 780 27‐32: Le Dejeauner sure l’herbe Manet Painting 1863 781 27‐33: Olympia Manet Painting 1863 781 27‐35: Veteran in a New Field Homer Painting 1865 783 27‐36: The Gross Clinic Eakins Painting 1875 783 27‐37: The Daughters of Edward Darley Boit Sargent Painting 1882 784 27‐38: The Thankful Poor Tanner Painting 1894 785 27‐40: Ophelia Millais Painting 1852 786 27‐43: House of Parliament, London Pugin/ Barry Architecture 1835 788 27‐44: Royal Pavilion, Brighton Nash Architecture 1815‐1818 789 27‐45: Paris Opera Garnier Architecture 1861‐1874 789 27‐48: Still Life in Studio Daguerre Photography 1837 792 27‐51: Nadar Raising Photography to the Height of Art Daumier Lithograph 1862 794 27‐53: A Harvest of Death, Gettysburg, Pennsylvania O’Sullivan Photography 1863 795 27‐54: Horse Galloping Muybridge Calotype 1878 796 CONTEXT Europe and France 1. -
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). -
Prehistoric Art: Their Contribution for Understanding on Prehistoric Society
Prehistoric Art: Their Contribution for Understanding on Prehistoric Society Sofwan Noerwidi Balai Arkeologi Yogyakarta The pictures indicated as an art began their human invasion of the symbolic world, just started around 100.000 BP and more intensively since 30.000 years. The meaning of the relations between the men and with their world is produced by organization of representations in graphic systems by images, expression and communication in the same time. Since the first appearance of genus Homo, the development of cerebral and social evolution probably causes the ability to symbolize. Human uses the image to the modernity which is gives a symbolic way to the meaning for the beings and to the things (Vialou, 2009). This paper is a short report about development of contribution on study of symbolic behavior for interpreting of prehistoric society, from beginning period until recent times by several scholars. When late nineteenth and early twentieth century scientists have accept that Upper Paleolithic art is being genuinely of great antiquity. At that times, paleolithic art was interpreted merely as “art for art’s sake”. The first systematic study of Ice Age art was undertaken by Abbé Henri Breuil, a great French archeologist. He carefully copied images from a lot of sites and reconstructs a development chronology based on artistic style during the first half of the twentieth century. He believed that the art would grow more complicated through time (Lewin, et.al., 2004). After the beginning study by Breuil, as a summary they are several contributions on study of symbolic behavior for interpreting of prehistoric society, such as for reconstruction of prehistoric religion, social structure of their society, information exchange system between them, and also as indication of cultural and historical change in prehistoric times. -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
Janson. History of Art. Chapter 16: The
16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists. -
Art and Symbolism: the Case Of
ON THE EMERGENCE OF ART AND SYMBOLISM: THE CASE OF NEANDERTAL ‘ART’ IN NORTHERN SPAIN by Amy Chase B.A. University of Victoria, 2011 A thesis submitted to the School of Graduate Studies In partial fulfillment of the requirements for the degree of Master of Arts Department of Archaeology Memorial University of Newfoundland May 2017 St. John’s, Newfoundland and Labrador ABSTRACT The idea that Neandertals possessed symbolic and artistic capabilities is highly controversial, as until recently, art creation was thought to have been exclusive to Anatomically Modern Humans. An intense academic debate surrounding Neandertal behavioural and cognitive capacities is fuelled by methodological advancements, archaeological reappraisals, and theoretical shifts. Recent re-dating of prehistoric rock art in Spain, to a time when Neandertals could have been the creators, has further fuelled this debate. This thesis aims to address the underlying causes responsible for this debate and investigate the archaeological signifiers of art and symbolism. I then examine the archaeological record of El Castillo, which contains some of the oldest known cave paintings in Europe, with the objective of establishing possible evidence for symbolic and artistic behaviour in Neandertals. The case of El Castillo is an illustrative example of some of the ideas and concepts that are currently involved in the interpretation of Neandertals’ archaeological record. As the dating of the site layer at El Castillo is problematic, and not all materials were analyzed during this study, the results of this research are rather inconclusive, although some evidence of probable symbolic behaviour in Neandertals at El Castillo is identified and discussed. -
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. -
Denisovan News: Keeping These Remarkable Yet Enigmatic People up Front by Tom Baldwin
BUSINESSBUSINESS NAMENAME BUSINESSBUSINESS NAMENAME Pleistocene coalition news VOLUME 11, ISSUE 6 NOVEMBER-DECEMBER 2019 Inside -- ChallengingChallenging thethe tenetstenets ofof mainstreammainstream scientificscientific aagg e e n n d d a a s s -- We at PCN want to thank everyone for making our 10th Anniversary Issue (Issue #61, P A G E 2 September-October 2019) such a success and we thank everyone for writing us. Denisovan news: As most now realize, founding member and central figure of the Pleistocene Coaltiion, Dr. Vir- Keeping these re- markable though ginia Steen-McIntyre’s, recent stroke and other illnesses have become a concern for all those enigmatic people who know her and work Readers were taken by surprise with Tim Holmes’ up front with her as well as for our ‘Paleolithic human dispersals via natural floating readers. The loss of her Tom Baldwin platforms, Part 1 ’ last issue. crucial roles as writer, In contrast to presumed ocean P A G E 4 travel via sailing or paddling scientific advisor, core 10 years ago in PCN manmade watercraft Holmes PCN editor, writer organ- From comparing aerial Dr. Virginia Steen- suggested a third way has izer, etc., while she recov- views of the Middle East with South McIntyre’s first been downplayed in anthro- ers has also added to our A natural pumice raft African cir- In Their Own Words pology and readers re- other editors’ responsibili- cles over column sponded, asking, “Why is this idea not better ties and difficulty in keep- known?” Holmes is still working to finish Part 2. 6,000 miles Virginia Steen-McIntyre ing up. -
The Cradle of Humanity: Prehistoric Art and Culture/ by Georges Bataille : Edited and Introduced by Stum Kendall ; Translated by Michelle Kendall and Stum Kendall
The Cradle of Humanity Prehistoric Art and Culture Georges Bataille Edited and Introduced by Stuart Kendall Translated by Michelle Kendall and Stuart Kendall ZONE BOOKS · NEW YORK 2005 � 2005 UrzoneInc ZONE B001[S 1226 Prospect Avenue Brooklyn, NY 11218 All rights reserved. No pm of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, including electronic, mechanical, photocopying, microfihning,recording, or otherwise (except for that copying permitted by Sections 107 and 108 of the U.S. Copyright uw and except by reviewers for the public press) without written permission from the Publisher. Printed in the United States of America. Georges Bataille's writings are O Editions Gallimard, Paris. Distributed by The MIT Press, Cambridge, Massachusetts, and London, England Library of Congress Cataloging-in-Publication Data Bataille, Georges, 1897-1962 The cradle of humanity: prehistoric art and culture/ by Georges Bataille : edited and introduced by Stum Kendall ; translated by Michelle Kendall and Stum Kendall. P· cm. Includes bibliographical references. ISBN 1-890951-55-2 l. Art, prehistoric and science. I. Kendall, Stuart. II. Title. N5310.B382 2004 709'.01 -dc21 Original from Digitized by UNIVERSITY OF CALIFORNIA Google Contents Editor's Introduction: The Sediment ofthe Possible 9 A Note on the Translation 33 Primitive Art 35 I The Frobenius Exhibit at the Salle Pleyel 45 II A Visit to Lascaux: A Lecture at the Sociiti d'A9riculture, Sciences, Belles-Lettres III et Arts d'Orlians 47 The Passa9efrom -
French Art, Classic and Contemporary, Painting and Sculpture
NYPL RESEARCH LIBRARIES 3 3433 08191162 4 Virt-*'.', FRENCH ART THE HEW YORK PDBLIC LIB4^ARY ASTOK, LENOX Tli-DEN FOUNDATIONS / / "W Y( J SCRIB] 1 90J NG THE DAWN / FRENCH ART CLASSIC AND CONTEMPORARY PAINTING AND SCULPTURE BY W. C. BROWNELL NEW AND ENLARGED EDITION WITH FORTY-EIGHT ILLUSTRATIONS NEW YORK CHARLES SCRIBNER'S SONS 1901 COPYRIGHT, 1892, 1901, BY CHARLES SCRIBNEr's SONS PUBLISHED OCTOBER, 1901 THE NEW r, yc>^Y "y BUG LIBRARY ' ' i "» —f A S< » , TILBSN Pi»-JNBATIO«« D. B. UPDIKE, THE MERRYMOUNT PRESS, BOSTON TO AUGUSTE RODIN Advantage has been taken of the present ilkistrated edition of this book to add a chapter on "Rodin and the Institute," in which the progress of what ten years ago was altogether a "new movement in sculpture," is further considered. Except in sculpture, and in the sculpture of Rodin and that more or less directly in- fluenced by him, thei-e has been no new phase of French art developed within the decade — at least none important enough to impose other additions to the text of a work so general in character. CONTENTS I. CLASSIC PAINTING 1 I. CHARACTER AND ORIGIN II. CLAUDE AND POUSSIN III. LEBRUN AND LESUEUR IV. LOUIS QUINZE V. GREUZE AND CHARDIN VI. DAVID, INGRES, AND PRUDHON II. ROMANTIC PAINTING 39 I. ROMANTICISM II. GERICAULT AND DELACROIX III. THE FONTAINEBLEAU GROUP IV. THE ACADEMIC PAINTERS V. COUTURE, PUVIS DE CHAVANNES, AND REGNAULT III. REALISTIC PAINTING 75 I. REALISM II. COURBET AND BASTIEN-LEPAGE III. THE LANDSCAPE PAINTERS ; FROMENTIN AND GUILLAUMET IV. HISTORICAL AND PORTRAIT PAINTERS V. -
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.