...and why it was produced in this particular time period. In this paper, the painting, Attributed to Quenten Metsys, Lamentation, c. 1520 will be analyzed and compared to Giotto’s Lamentation, c. 1305 to understand the differences in how these elements are portrayed when used in two different settings. These two paintings depict the same scene, but they are painted in two very different styles. Located in the Museum of Fine Arts, Houston, the painting Attributed to Quenten Metsys Lamentation, c. 1520 can be recognized as a Northern Italian work of art due to the immense detail and vivid coloration that could only be achieved through the use of oil paint. When the 1300s began, two Renaissance movements took place in both the Southern and Northern regions of Italy. The popular and most commonly used medium during the southern Renaissance was fresco, where artists would paint straight on the wall. But, during the Northern Renaissance, oil paint was the more commonly used medium that was being experimented with. So, the fact that the Attributed to Quenten Metsys Lamentation, c. 1520 is an oil painting categorizes it as a northern piece of art. As this piece is further analyzed, it is revealed that there are ten figures in the foreground, and four figured in the background. The artist does not show much importance of the background, all that can be seen there are two workers, two crucifixions, and the empty cross where Jesus was formerly hung, but even then, the empty cross is slightly...
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...Giotto and Giovanni Scrovegni Chapel The Chapel was commissioned by Enrico Scovegni; his family fortune was through the practice of usury, (which meant the charging of interest when loaning money; a sin so grave resulted in exclusion from the Christian sacraments). Enrico’s father, Reginald was an erroneous case; he appears in the “Dante’s Inferno as the pro-typical user). Scrovegni called for two of the most famous artists of that time period, Giotto and Giovanni Pisano. Their talents and skill were needed for Scrovegni to atone for his sins; as well to bring an understanding of his power and importance. The Chapel described as a simple barrel-vaulted room that provides broad walls, a boxlike space. A boxed space that becomes the showcase of Giotto’s paintings. When we study about the Gothic Churches the structure the strength of its walls, we tend to as well look upon it now as a book that opens as we walk within its halls. We sense the projectory of the architecture, the history and the paint that is often held within its walls. We think of the debate of the structure, the formation of the history of the church. The kings, the servicemen and to simple town folk that walked upon the great stone and within the story itself. As Architectural as the Gothic quarter foil framework, the dimension of the linear perspective as it presents a coverage of the human mind of the time period as well as it vanishes into a linear motion of stone. We lean upon understanding of the differentiation...
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...Giorgio Vasari (1511-74), painter and architect, born near Florence, and employed by the powerful, Florentine family, the Medici. In 1550 and then in 1568 he wrote a multi-volume book, The Lives of the Most Excellent Painters, Sculptors, and Architects. Vasari’s art historical narrative, seemingly a record of the lives of certain Renaissance artists, is the account of how art gradually achieved perfection, by building upon the achievements of the past in order to ultimately attain that perfection at the beginning of the 16th century. A process Vasari himself confirms in The Lives when he says, Having very carefully turned all this over in my mind, I have come to the conclusion that it is inherent in the very nature of these arts to progress step by step from modest beginnings, and finally to reach the summit of perfection.” Vasari’s work was the first systematic history of art, and, as such, it represents an important milestone in the history of Renaissance art. It is important to recognize the structure he gave his book, for it is revealing about the kind of historical narrative that he wanted to create. Vasari wrote biographies of individual artists, thereby acknowledging the distinctive achievements of each. He then organized these separate lives into three distinct periods, introduced by prefaces in which he described the common characteristics of their artworks and also placed their work—as he sees it—into a larger narrative about what happens to art over time. Vasari’s...
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...Morality Play Everyman: Concepts of Death English 102: Literature and Composition APA Thesis Statement: The main character known by the name “Everyman” is representative of all of God’s people and the subsequent journey each must take in order to make the Presence of God their dwelling place as well as the pitfalls that must be avoided along the way. Outline: Introduction Thesis Statement Summoning of Everyman God Death Author’s Perception of Death Biblical Concept of Death Everyman’s Perception of death Seeking Traveling Companions Journey Repentance Death Conclusion Morality plays were written to convey a simple moral lesson to the audience or the readers. One such example is the play “Everyman” which was written in the late fifteenth century by an unknown author. Everyman is an allegorical play because it has two levels of meaning. One level of meaning is seen through the eyes of God. The other level is seen in how Everyman views life. The main character known by the name “Everyman” is representative of all God’s people and the subsequent journey each must take in order to make the Presence of God their dwelling place as well as the pitfalls that must be avoided along the way. The protagonist is symbolic of people who seek salvation through their good deeds. One theme highlighted in this play is the transitory...
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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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...The Interpretation of Dreams Sigmund Freud (1900) PREFACE TO THE THIRD EDITION Wheras there was a space of nine years between the first and second editions of this book, the need of a third edition was apparent when little more than a year had elapsed. I ought to be gratified by this change; but if I was unwilling previously to attribute the neglect of my work to its small value, I cannot take the interest which is now making its appearance as proof of its quality. The advance of scientific knowledge has not left The Interpretation of Dreams untouched. When I wrote this book in 1899 there was as yet no "sexual theory," and the analysis of the more complicated forms of the psychoneuroses was still in its infancy. The interpretation of dreams was intended as an expedient to facilitate the psychological analysis of the neuroses; but since then a profounder understanding of the neuroses has contributed towards the comprehension of the dream. The doctrine of dream-interpretation itself has evolved in a direction which was insufficiently emphasized in the first edition of this book. From my own experience, and the works of Stekel and other writers, [1] I have since learned to appreciate more accurately the significance of symbolism in dreams (or rather, in unconscious thought). In the course of years, a mass of data has accumulated which demands consideration. I have endeavored to deal with these innovations by interpolations in the text and footnotes. If these additions do...
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