...Possibly the sequel to the Christ driving the Traders from the Temple (Matthew, XXI, 14: 'And the blind and the lame came to him in the temple; and he healed them'). Both subjects were treated by El Greco more than once in Italy. This is the smallest known painting on canvas by El Greco. The painting has been cut and the group on the right is incomplete. No large-scale works are known from his Italian period, and most are quite small. He does not appear to have received any important commissions before he moved to Spain. Three versions of this subject are known, all basically the same in composition, but differing in treatment. The earliest, an unsigned panel in Dresden, is looser in composition, smaller in conception, and introduces genre motifs of a dog, sack and pitcher in the foreground, eliminated in subsequent versions. The present painting, probably also painted in Venice, is more easily composed. The third and largest painting, now in the Metropolitan Museum in New York (possibly identical with the one in a Madrid collection at the time of Cossio's pioneer work on El Greco), with its comparative largeness of conception, belongs to his Roman period, after 1570. El Greco did not again take up the subject in Spain. The inspiration is from Venice. The dramatic use of recession behind the figures in the foreground is Tintoretto's invention. El Greco is still borrowing certain motifs, but the composition would seem to be original. The painting was among the Farnese possessions...
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...of the male artists at this time depicted the woman as being coy and flirtatious, Artemisia, represented Susanna as looking vulnerable and frightened and had the men, large and looming over her as she cowered in fear. “Rather than showing Susanna as coyly or flirtatious (as many male artists had painted the scene), Artemisia takes the female perspective and portrays Susanna as vulnerable, frightened, and repulsed by their demands, while the men loom large, leering, menacing, and conspiratorial in her direction.” (Cite) Another painting up for comparison is her Lucretia, which compared to Tintoretto’s version of the story, we’re shown two completely different scenes being played out. “Tintoretto and Gentileschi depict two different, yet pivotal and dramatic moments in Lucretia's story. Tintoretto portrays the chaos of the rape, juxtaposing erotic imagery and traditional iconography associated with female virtue.” (Cite) In Tintoretto’s Tarquin and Lucretia, we’re being shown the story of a young wife who is being raped by the king Tarquin Superbus and in Artemisia’s painting, we’re seeing the aftermath of the rape and Lucretia’s mental state as she contemplates committing suicide in order to save her family’s reputation. Her most famous painting, Judith Slaying Holofernes, depicts the story of Judith, a Jewish widow of noble rank in Bethulia, a town besieged by the army of the Assyrian general Holofernes. She approached his tent as an emissary and captivated him with her beauty...
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...Introduction Welcome to the Cornell Fine Arts Museum. Has anyone visited here before? Great! Well let me tell you a little bit about the museum. This is a teaching museum, which means our mission is to educate the community. We give tours from k-12 and adults. We have free admission for all, so you are always welcome to come back! We currently have 5,000 objects. We are the only museum in central Florida to hold antiquities and American art. For this exhibition, we have selected works from our permanent collection and that’s what we will focus on today. Before we go into the gallery, I want to state the museum etiquette that is important to follow. Please do not get too close to the artwork so you don’t accidently touch them. And also, you may take photos, but please no flash! Now follow me into the Clive gallery so we can get started! The Clive gallery is divided into 4 sections: Religion Redefined, Gesture and Pose, A Sense of Place, and History and Myth. We decided to call this collection Conversations. I want to encourage you to think of what these four sections what they mean. We can do this by comparing and contrasting between works within each section and outside of each section. In each section, I will focus on 2 to 3 pieces Gesture and Pose Lets start at the gesture and pose section: Here we can learn a lot about what a pose or style of clothing says about the time period the suitor lived or who they were. Gustave Brion ...
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...ART 110 – Art Appreciation North Carolina Museum of Art Assignment Contemporary Art Section 1. Find these three images. Which one do you like best and why? a. Pablo Picasso, Seated Woman, Red and Yellow Background b. Karel Schmidt-Rottluff, Portrait of Emy c. Michael Richards, Tar Baby vs St Sebastian My favorite of the three specified images in the Contemporary Art section of the North Carolina Museum of Art is hard to choose. I liked all three pieces for different reasons. I have always loved Pablo Picasso’s work and have one hanging in my home. I can appreciate the Seated Woman, Red and Yellow Background, but it not in my favorites of Picasso’s work. When I first saw Portrait of Emy, by Karel Schmidt-Rottluff, my instincts were that he must have studied under Picasso. Portrait of Emy jumps out at you with the bold orange oil color. The blue eyes grab and hold your attention in an odd way, and I haven’t quite figured out the hair style his wife, Emy, had when she sat for this. And then when I looked at Michael Richards’ Tar Baby vs. St. Sebastion, I had a much different feeling. I was overwhelmed with wondering why he would give this sculpture a name like this. A man cast in gold, a pilot, covered with small airplanes…. It is intriguing. My first thought was that it must represent one of the world wars though it was made in 1999. Could it be paying tribute to a veteran family member? Without researching the artist or the piece itself, I would...
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...Baroque Period Unit 4 IP Art Appreciation Nicole Woodford American Intercontinental University May 6, 2012 Abstract “Baroque was born in Italy, and later adopted in France, Germany, Netherlands, and Spain. The word "baroque" was first applied to the art of period from the late 1500s to the late 1700s, by critics in the late nineteen century. Baroque covers a wide range of styles and artists. In painting and sculpture we recognize three main forms of Baroque: Baroque that was primarily associated with the religious tensions within Western Christianity: division on Roman Catholicism and Protestantism. In response to the Protestant Reformation of the early sixteen century, the Roman Catholic Church had embarked in the 1550s on a program of renewal known as the Counter - Reformation.” (htt2) http://www.albany.edu/scj/jcjpc/figures/st-paul.jpg The Conversion of Saint Paul by: Caravaggio “This painting represents the moment when Saul (later to be renamed Paul) is on the road to Damascus to carry out a persecution of the young Christian community. He has a vision as Christ calls out to him, "Why are you persecuting me?" In the position of the St Paul and of the Christ, and in the movement of the horse into the depth of the picture, this work is still related to the tradition of Michelangelo, but there are decidedly Caravaggesque elements in the work, such as the face of the angel supporting Christ. and in the play of light upon Paul's fallen form.” (Caravaggio:) It...
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...The Courtauld Gallery The art collection at the Institute was begun by its founder, Samuel Courtauld, who presented an extensive collection of mainly French Impressionist and Post-Impressionist paintings in 1932, which was enhanced by further gifts in the 1930s and a bequest in 1948. His collection included such masterworks as Manet's A Bar at the Folies-Bergère and a version of his Déjeuner sur l'Herbe, Renoir's La Loge, landscapes by Claude Monet and Camille Pissarro, a ballet scene by Edgar Degas and a group of eight major works by Cézanne. Other paintings include van Gogh's Self-Portrait with Bandaged Ear and Peach Blossoms in the Crau, Gauguin's Nevermore and Te Rerioa, as well as important works by Seurat, Henri "Douanier" Rousseau, Toulouse-Lautrec and Modigliani. In total, the Gallery contains some 530 paintings and over 26,000 drawings and prints. Following the death of the eminent art critic Roger Fry in 1934, the Institute received his collection of 20th-century art. Further bequests were added after the World War II, most notably the collection of Old Master paintings assembled by Lord Lee. This included Cranach's Adam and Eve and a sketch in oils by Peter Paul Rubens for what is arguably his masterpiece, the Deposition altarpiece in Antwerp Cathedral. Sir Robert Witt was also an outstanding benefactor to the Courtauld and bequeathed his important collection of Old Master and British drawings in 1952. In 1966 Mark Gambier-Parry bequeathed the diverse collection of...
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...Rembrandt vs. Rubens Andrew Ulrich Prof. Hutson ART 38716-ART IN THE AGE OF REMBRANDT AND RUBENS 1/22/15 Peter Paul Rubens and Rembrandt Harmenszoon van Rijn were two of the most famous and successful painters in 17th century Europe. Rubens was a Flemish Baroque painter and was admirably recognized for his Counter-Reformation altarpieces, portraits, landscapes and historical paintings of mythological characters. Rembrandt was a Dutch painter and printmaker, who was also known for his etching. His greatest successes are told through his portraits of the people who surrounded his life, his self-portraits and paintings of scenes in the Bible. Both artists received a traditional education and then continued their education with several apprenticeships to learn the basics of art and painting. These artists were treated with immense success in the 17th century, especially considering the amount of turmoil that was happening with the ‘Eighty Year War’ happening all around them. The journey to success contained personal triumphs and setbacks for both artists, albeit each journey was draped with divergence. The differences between upbringing and lifestyle of each artist led to a different approach to their paintings as well as a different style of art in general. One main difference between artists is that Rubens chose to travel to Italy to study Italian art and culture, Rembrandt elected to stay-put in Amsterdam to continue his studies. This factor, as well as many other differences...
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...Elliot Shimonov An Episode from the Life of Publius Cornelius Scipio Giovani Bellini is a widely known painter of Venetian descent whose work is fundamental in the understanding of the Venetian High Renaissance. His works were inspired by social and political elements which was atypical of the Renaissance culture. However, the Venetian Renaissance came later than the Florentine or Roman Renaissance and by the time of its assumption, studies of sciences such as astronomy, dynamism of the universe, and navigation made Venetians question the nature of everything around them, referring to history for answers. Accordingly, artists focused on the nature of color and other observable natural occurrences, whereas the Florentine and Romans focused on the composition and geometry of that which they depict. Bellini’s 1506 painting An Episode from the Life of Publius Cornelius Scipio is no exception to the Venetian trend; it is nature-inspired and though-provoking, depicting the Roman General Publius Cornelius Scipio and his men gathering hostages after a victory in Carthage. The artwork functioned as a work for a private patron who wanted to honor his old ancestor. The Patron was of Roman descent and it is likely he may have been related to Scipio. Furthermore, Venetians were known to adhere to the past in order to further humanist learning, which suggests that the painting might have also functioned to provoke learning. The text to Scipio’s right, translates to: “To exact love is more...
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...In the Studio with Jeremy Sutton: Educator Guide Subject Visual Art: Painting Grades 6 ‐ 12 Standards Addressed Artistic Perception, Creative Expression, Aesthetic Valuing Teaching with KQED Media Using video in the classroom can breathe life and meaning into any lesson. In the arts, video can be particularly effective for introducing large concepts, aspects of the creative process, and key arts‐ related vocabulary to introduce students to discipline‐based and concept‐based study. Using media in the classroom helps connect students with artists and promotes critical viewing skills and media awareness. For more information about using media in the classroom download KQED’s Media Tips teaching tool (a direct link is provided in the resource section of this guide). Using KQED media in the classroom allows student to virtually visit a local artist, while listening to firsthand information about the artist’s practice. In order to present KQED media to your entire class, you will need a projector and computer with the capacity to stream video. Alternatively, assign students to watch the video on their own or in groups. After soliciting student responses to the video, continue the lesson by implementing hands‐on or discussion activities to deepen the impact of the media – ideas are provided in this guide. Making the Most of Media The following activity ideas may be used in the classroom after viewing the KQED video In the Studio with Jeremy Sutton. Drawing...
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...emerging Christian Church came to dominate Europe, administering justice, instigating "Holy" Crusades against the East, establishing Universities, and generally dictating the destiny of music, art, and literature. It was during this time that Pope Gregory I is generally believed to have collected and codified the music known as Gregorian Chant, which was the approved music of the Church. Much later, the University at Notre Dame in Paris saw the creation of a new kind of music called organum. Secular music was performed throughout Europe by the troubadours and trouvères of France. And it was during these "Middle Ages" that Western culture saw the appearance of the first great name in music, Guillaume de Machaut. The Last Supper by Tintoretto The Renaissance Generally considered to be from ca.1420 to 1600, the Renaissance (which literally means "rebirth") was a time of great cultural awakening and a flowering of the arts, letters, and sciences throughout Europe. With the rise of humanism, sacred music began for the first time to break free of the confines of the Church, and a school of composers trained in the Netherlands mastered the art of polyphony in their settings of sacred music. One of the early masters of the Flemish style was Josquin des Prez. These polyphonic traditions reached their culmination in the unsurpassed works of Giovanni da Palestrina. Of course, secular music thrived during this period, and instrumental and dance music was performed in abundance,...
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...be the one featured in this museum financed by the Holy Roman Emperor himself. Let me tell you a little about myself. I was born on June 28, 1577 in Siegen, Westphalia, to my parents Jan Rubens and Maria Pypelincks. After my father’s death, I moved with my family to Antwerp, Belgium. I was raised as a Catholic and received a humanist education, with Latin and classical literature included in my education. Once I turned fourteen, I began studying under Tobias Verhaecht, who taught me how to paint. I also looked to Adam van Noort and Otto van Veen as a source of study. Once I completed my apprenticeship in 1598, I joined the Guild of St. Luke. I moved to Italy in 1600 to study paintings from famous artists, such as Titian, Veronese, and Tintoretto. I also traveled...
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...What Were the Characteristics of the Renaissance? In very simple terms, the Italian Renaissance re-established Western art according to the principles of classical Greek art, especially Greek sculpture and painting, which provided much of the basis for the Grand Tour, and which remained unchallenged until Pablo Picasso and Cubism. From the early 14th century, in their search for a new set of artistic values and a response to the courtly International Gothic style, Italian artists and thinkers became inspired by the ideas and forms of ancient Greece and Rome. This was perfectly in tune with their desire to create a universal, even noble, form of art which could express the new and more confident mood of the times. Renaissance Philosophy of Humanism Above all, Renaissance art was driven by the new notion of "Humanism," a philosophy which had been the foundation for many of the achievements (eg. democracy) of pagan ancient Greece. Humanism downplayed religious and secular dogma and instead attached the greatest importance to the dignity and worth of the individual. Effect of Humanism on Art In the visual arts, humanism stood for (1) the emergence of the individual figure, in place of stereotyped, or symbolic figures. (2) Greater realism and consequent attention to detail, as reflected in the development of linear perspective and the increasing realism of human faces and bodies; this new approach helps to explain why classical sculpture was so revered, and why Byzantine art...
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...University, Faculty of Economics | | | | | |Italy | | | |17.11.2011 | Italy´s current economic situation and its prediction for the future Macroeconomics 2 Take the art works of Botticelli, Leonardo da Vinci, Michelangelo, Tintoretto and Caravaggio, the operas of Verdi and Puccini, the cinema of Federico Fellini, add the architecture of Venice, Florence and Rome and you have just a fraction of Italy's treasures from over the centuries. While the country is renowned for these and other delights, it is also notorious for its precarious political life and has had several dozen governments since the end of World War II. In my report I would like to look at current situation of Italy, especially economy and some predicting for the future. Italy has a diversified industrial economy, which is divided into a developed industrial north, dominated by private companies, and a less-developed, welfare-dependent, agricultural south, with high unemployment. The Italian economy...
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...1619, exemplifies the nature of art during the Baroque period because of its ability to engage the viewer both physically and emotionally. One of Italian art's great draftsmen, a largely self-taught artist, Giovanni Francesco Barbieri was born in the town of Cento in Emilia-Romagna (Italy) in 1591. He was known by his nickname, Il Guercino (the Squinter), because of a childhood accident that made him cross-eyed. As a painter Guercino worked in different styles during his long and successful career. Earlier in his career, he combined several disparate influences of Carravaggio, the Carracci who so expertly accomplished the use of chiaroscuro and great 16th-century Venetian masters like Titian, who mastered the use of foreshortening and Tintoretto, whose dramatic use of perspective space and special lighting effects, to create works that are among some of the masterpieces of the Baroque period. Cento is a town located directly in between Bologna and Ferrara, both of which at the time were becoming flourishing local hubs for the humanities. Local artists in Cento...
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...Running Head: Continuity and Transformation across All Art Periods Final Project: Continuity and Transformation across All Art Periods Ansamma Paul Thomas Edison State College Grade 60% Question: Through the ages, artistic activity has often been focused in particular cities or groups of cities. Three of these concentrations stand out, each representative of a different time and era in the history of Western art: • The Rome-Florence-Venice triangle (Renaissance and High Renaissance) • Paris (Impressionism and Post-Impressionism) • New York (Abstract Expressionism). Consider all three locales and discuss artists, works of art, and historic periods associated with each locale. The evolution of art from the early Hellenistic to the later Roman period was made possible through the modification of features as the sculptors and artists saw fit. As such, the Romans "add[ed] to, subtract[ed] from... and innovate[d]" Hellenistic art (Soltes, L7, 3:18) upon taking over Greece. Roman works such as "The Laocoon" (Soltes, L7, 3:22) and "Soldier-Farmer" (Soltes, L7, 11:30) among many showed continuity and transformation. In the former work, the element of pathos is continuous from the Hellenistic while the addition of a son and an extended serpent shows transformation; in the latter work, the excessive wrinkles across the man's face serves to evoke pathos and a sense of respect through pietas...
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