...Dionte McWillis 3/6/16 Understanding of Art History The styles of art has change over the last hundreds of years and with this paper I will be examining the different styles such as impressionism, cubism, Dada, and surrealism. Each has its own important place in art history and all has produces very important pieces of art. I will show how each style progress and the main focus of each style. I gain on learning more about each style and how both styles change the way art is looked at and is done. Each style has its own unique feeling and motivation for each painting is different for the artist that did them. When it comes to the changes in art we have to think about Post-Impressionism time period and how art begin to shift to different forms and ideas. When looking at Paul Cezanne. Art work called “Still Life with Basket of Apples” to me the describe the symbolic and personal feeling in which each painting during this time period...
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...Pamela Castillo September 16, 2015 Art and Society: Renaissance to Modern Art Art History Paper Assignment 1 The Era of the Italian Renaissance was a time of reawakening of the Renaissance man. The arts, sciences, philosophy, and man being master of many things were all resurgence during this time. One particular painting to be analyzed for an example of Southern Italian style is Giuliano Burgiardini, Madonna and Child with St. John the Baptist, 510. Giuliano Burgiardini painting conveys the typical Southern Italian style with its composition in a pyramidal fashion, the particular way the bodies are depicted, and use of chiaroscuro of shadowing that differentiates it from Northern style. To continue on forth, the composition of the painting must be taken into account as well as Giuliano use of color, light and shadow as evidence of Southern Italian style. It must be noted, the painting is considered historical because it is depicting a significant event in time whether or not the event actually took place. In this particular historical painting you see depicted Mary and Christ with Saint John the Baptist in a pyramidal formation. The pyramidal formation and the fact that there are 3 figures were often seen in Southern Italian style. You can see Christ and St. John the Baptist as the corner base of the triangle and the head of Mary at the apex (Giuliano). A straight line can almost be drawn from the foot of Christ up to the head of Mary down to the foot of St. John the...
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...you. This modern age is filled with visual creations. Fabrics, advertisements, book covers, posters, and so many other things have an artist behind them. We are the people behind the scenes, bringing necessary beauty into this world. Art can also teach us lessons about life, morals, and culture. Art from history tells us of events and movements from certain times in our past. It answers the questions, such as “how did they see things?” and “how was it different from now?” Our future generations will see OUR artwork and can learn from what we had to say....
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...Art and Society: Renaissance to Modern Art Paper Assignment I Analysis of the Museum’s Painting The museum’s painting (Attributed to Quentin Massys, Lamentation, c. 1520) depicted a scene in which several grieving people were gathered around Christ after his crucifixion. The thing that stands out about this painting is that Christ is not adorned in fine clothing, nor does he even appear divine in any way. The surrounding people do not appear to be priests or divine, but are normal, plainly garbed, people. Upon moving my attention to other areas of the painting, I noticed the detailed landscape upon which this scene was set. The museum’s painting can be recognized as a northern painting, even without prior knowledge of the artist who painted it. Two distinct features in this painting are strongly indicative of a northern painting. One of these said features is the landscape setting. Northern works of art deal strongly with naturalism. The second indication that this may be a northern painting has to do with the people gathered around Christ. It is easy to tell that these individuals are merely common folk. A southern painting would most likely feature angels or clergymen gathered around Christ, but within paintings from the north was the concept of humanism. In lamens terms, humanism is merely a system of thought in which human beings are of utmost importance as opposed to the divine or supernatural. In summation, both styles of this painting, naturalism and humanism, are...
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...ART HISTORY 461: NON-WESTERN ART Instructor: Bridget V. McDaniel, Assistant Professor of Art Office/Hours: SFA 112B Contact: 475-5870 / bmcdaniel@mcneese.edu Required Text: Gardner’s Art through the Ages Non-Western Perspective 13th edition COURSE DESCRIPTION Topics in non-western history. Open to non-art majors. 3 credit hours. PREREQUISITE None. COURSE GOALS 1) Emphasize effective communication in written English; 2) Introduce the relationship between reading and comprehension in the discipline; 3) Emphasize critical thinking and abstract reasoning skills; 4) Emphasize technology applications; 5) Emphasize student recognition and appreciation of cultural diversity; STUDENT LEARNER OUTCOMES Upon completion of the course, students will be able to do the following: 1) Effectively demonstrate an understanding of the rhetoric appropriate to the discipline and construct logically ordered and developed responses to art historical questions and issues; 2) Differentiate between main ideas and supporting details as well as distinguish between fact and opinion in relation to the artists, styles and artistic periods; 3) Demonstrate the ability to identify and dispel misperceptions pertaining to artists, their work and period; make reflective decisions regarding the inclusion of artwork within a specific period; 4) Use technology as a resource for study, as well as for communication; 5) Distinguish and categorize the painting, sculpture, architecture, etc. across various cultures...
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...“ultimate” graduate profile. Following program chairs’ agreement, the material will go to the full faculty for discussion and vote. I will also gather input from Student Affairs so that we understand their contribution to the success of our students. Readings about assessment and what it is are attached.* As I mentioned earlier, we will be working our way through this process together, and developing our assessment program in relationship to the goals and values unique (and/or integral) to this institution. Additional readings are on reserve in the library, and an enormous amount of information is available on the web. *Distributed at the Program Chairs meeting on 9.9.2008 MISSION Maine College of Art delivers a demanding and enlivening education in visual art and design within an intimate learning community. We teach each student how to transform aspirations and values into a creative practice that serves as the foundation for a lifelong pursuit of personal and professional goals. VALUES o Maine College of Art’s educational philosophy is built on the premise that focused individual attention and meaningful collective inquiry produce the conditions in which students’ voices can find strength, clarity, and purpose. o Our faculty of practicing professional artists, designers, writers, and scholars are committed and passionate educators who consider their classrooms to be extensions of their creative work. o We give our students the tools they need to take risks...
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...Anne D’Alleva The Fundamentals of Art History Third Edition Prentice Hall Boston Columbus Indianapolis New York San Francisco upper saddle River Amsterdam cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico city sao Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo chapter 1 introducing art history Art is long, life is short. Prouerb attributed to Hippocrates (c. 4 6 0 -3 5 7 bce) This chapter will introduce you to art history as an academic discipline. It distinguishes the aims and methods o f art history from related disciplines like anthropology and aesthetics. It also attempts to answer two questions that are more complicated than they appear at first glance: What is art? and What is history? what do art historians do? The object of art history Art historians do art. But we don’t make it, we study it. We try to understand what artists are expressing in their work, and what viewers perceive in it. We try to understand why some thing was made at the time it was made, how it reflected the world it was made in, and how it affected that world. We talk about individual artists and their goals and intentions, but also about patrons (the people who commission artworks), viewers, and the kinds o f institutions, places, and social groups in which art is made and circulates—whether that’s an art school, temple, or government agency. What is “art”? “Art” is one o f those words that people use all the time but that...
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...As I enter my first college class, my attention goes to Professor Feldman, a tall, slender woman in a loose pearl blouse with black dress pants. The combination of her graceful stance and scholarly presence distinguishes her already from the chaos of the lecture room. The calm demeanor spreads through the room as she gradually turns the lights down low, signaling the beginning of lecture, and gives life to the art historian’s companion, the slide projector. Her slow and steady speech is punctuated by inflections at nearly every other word and reflects her scholarly presence. She picks her words carefully and you can sense the moment’s thought before each. Her precisely chosen words make each one valuable as I frantically try to catch them all. Feldman incorporates her elevated vocabulary in daily speech and lecture, requiring that I form my own vocabulary list: mélange, koine, cache, lingua franca, etc. In spite of being intimidated by Professor Feldman’s scholarship, the fellow human being, Marian Feldman, shows through at times. She does not hesitate to admit “When did those excavations take place?” or “Who was that guy who ruled Babylon? I never remember that one.” At one point she might exclaim, “Well, it doesn’t matter anyway” followed by a signature chuckle. She welcomes corrections or additions by students, and some questions lead her to guiltily admit, “You caught me. I was trying to avoid that one because, well, we just don’t...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...Origami: the ancient art of folding paper into different beautiful objects, like the classic crane. If you were asked me how it has affected me, or how I think it’ll affect me in the future, this is what I’d say. Origami has not affected me, but I think it will in the future, through the things I used to do with it, and being complete trash at it, I think it will affect me later though. As of right now, oragami has not inspired me or affected me. Is say this because as of today i have not made that much oragami items. As a child i did make fortune tellers, but, I wasn’t that good at the time. So, I got to work to get better, and in time, I was. Then I started trying more, and learned that there was much harder than i thought. But, I do not...
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...class (course content, course discussions, assignments, links, images, PPTS, study guides, pre-tests and exams) will be completed online. Each week is presented in its own learning module. Course Requirements Weekly Learning Modules will contain the following items: Reading Assignments and Lessons: A Chapter or chapters that are connected by period, culture or style of art. Each contains a summary of the chapter, key concepts, a list of images you should be able to identify and a PPT presentation of for each chapter again with images, key concepts, links, questions and important information within the note area. This will change once the lectures can be recorded. You should use these guides to help you focus your reading and note taking. You will be tested on this material as well as from the textbook and any extra videos or reading assignments given for each chapter. Note that artworks are influenced by the time and place in which they were created. Even though chapters might separate geographical areas, there were connections through travel and trade. There is a definite thread that connects art through time and through cultures. A Discussion Forum and /or Journal Entry: These will sometimes involve you having to answer questions compare images, watch a video, or visit a web site before completing the discussion or journal entry. For each discussion, you will need to post a response to a question or questions that are noted. A discussion requires students to respond...
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...Log My Personal Interest Project topic was chosen with my micro world in mind, due to my interest in art as well as being a Visual Art student. Through studying gender roles during my Visual Art course and exploring social exclusion in Society and Culture, it compelled me to want to learn more about the representation of women within the art world. As a socially aware individual with an interest in art, I felt the need to explore these inequalities to see if they still exist and how this may impact on other young artists. The research methods that I chose were interview, statistical analysis and content analysis, which would provide me qualitative results, as well as quantitative by being able to collect data and statistics. Originally, I planned on conducting a focus group discussion, however as my project progressed, I decided on content analysis as it allowed me to observe a variety of sources and immerse myself in the art world. By choosing an interview I was able to gain insightful knowledge from four females who were either art curators or historians and one male who is an art historian. This gave me qualitative results as I was able to receive in-depth answers from numerous people and allowed and exploration of my cross-cultural by interviewing both genders and gaining their perspectives on this. However, there were some limitations such as by completing my interviews through e-mail, I was not able to ask any follow up questions for answers to be further elaborated...
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...Gloria Wu Gretchen Halverson ART-HIST 110 Formal Analysis of Two Landscapes Landscape painting has been around for many centuries depicting the surroundings from trees and mountains to towns and cities. Landscapes show many naturalistic aspects of the world around us from nature itself to the various architecture and cities, and what we see and interpret can be expressed differently on a canvas. Both Echo Lake, Franconia Mountains, New Hampshire and Field of Poppies are landscape paintings depicting different subject matter within 30 years of each other. Echo Lake, Franconia Mountains, New Hampshire was created in 1861, during the transition between Romanticism and Realism, by Albert Bierstadt. This landscape is made with oil on canvas when Bierstadt went to visit New Hampshire, United States of America. Field of Poppies was created in 1890, during the French Impressionism, by Claude Monet. This landscape is made with oil on canvas during the summer in the poppy field near his house in Giverny. These two paintings shows what the artists saw in their surroundings from the lake to the mountain, and from the field to the trees. Both paintings depict how the artists demonstrate their own interpretation of the landscape in the late 1800s and early 1900s. Bierstadt’s Echo Lake, Franconia Mountains, New Hampshire retains the idealized, realistic view of the landscape by depicting every detail he sees compared to Monet’s Field of Poppies where the landscape strongly incorporates...
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... The Baroque art period of art was born in Italy/Western Europe, around the early 1600’s thru 1750. It was mainly influenced by the division of the Christian religion in the West, between the Roman Catholics and Protestants. The Roman Catholics used this art as a part of their campaign to maintain their followers. They felt it was aesthetically appealing and it would inspire the largest possible audience (Baroque, n.d.). Rembrandt’s The Ass of Balaam Talking before the Angel from 1626 is a good example of what the Roman Catholics wanted viewers to see and feel. Baroque art is known for its display of intense drama, which invokes powerful psychological sensations; emotional feelings. It incorporates the use of concentrated rich colors and the extreme differences between light and dark. The subject was typically very light and bright, almost giving it an angelic quality with the background being very dark, mysterious and shadowed. The themes were generally extravagant and of ecstasy, grandiose visions, death, or overall intense moment (Pioch, 2002). The Surrealism period of art started around 1920 and continued for many years. It commenced from Dadaist undertakings after World War I. It was very similar to Dadaism in the fact that it was anti rationalist (Baroque, n.d.). It started in Paris France and swiftly moved and was accepted around the world. It included all forms of art such as literature, poetry, film and music and moved outside the lines of art to include influences...
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...Modern Art in London 18 November 2015 How has the representation of women and female identity changed over the course of modern and contemporary art? Women have always been a common subject of art not only created by male artists, but female artists as well. In the late 1960s, the feminist art movement emerged following the women’s suffrage movement. The art during this era included works that obviously dealt with the female body even if the artists did not fully establish themselves as feminists. On the other hand, there were artists, like Paul Gauguin, who represented women in a different way. He spent some time in Tahiti to change his inspiration for art and discovered different subjects that included young Tahitian women. His pieces were so different from the pieces during the feminist art movement because his art typically did not give a precise purpose or meaning. Feminist art was representing something so powerful that it almost always needed a strict meaning. Another piece of art that almost contradicts the feminist art movement is Olympia by Edouard Manet. Consisting of a nude woman, this painting could suggest the views of women by the artist and even their role in society. Looking at these three different types of art really helps understanding the difference of representation of women over the course of the years. The feminist art movement started in the 1960’s shortly after women gained the right to vote due to the women’s suffrage movement (Feminist art movement)...
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