3. Art of Ancient Greece
The Greeks believed that Man was an ideal form. In their
estimation, Man is the measure of all things. Their works reflect
an interest in the naturalistic world.
Art emphasizes the "ideal" figure.
Kore (maiden) and Koros (youth) are terms to define the types of
marble statues carved and produced in large numbers
throughout the Archaic era. They were often funerary statues.
Concerned more with geometry and symmetry than original
expression.
6. Ancient Greek Philosophy
Plato believed in a theory of ideal forms. All forms of this world
are derived from an "ideal form in the spiritual world.” Therefore
all that we experience is an "imperfect" copy of a greater ideal.
Plato regarded artists as imitators of imitation.
Aristotle disagreed with Plato. He believed that art was
connected to and an expression of the human soul. Works like
Myron's Discobolos (Discus Thrower) are not representations of
the natural world, but a reinterpretation of it. Works like this
helped in the formation of Aristotle's opposition to Plato.
21. Early Renaissance
Began in Florence, Italy in the year 1500
Milan was trying to bring all of Italy under its rule, and the humanist
leaders of Florence put up a vigorous and successful defense.
Florence was free to rule itself because it gave the pope money; in turn,
they were given freedom.
Secular renderings of art began.
Humanism: rediscovering of classical philosophical texts; emergence of
the idea that humans could create and aspire toward godliness .
Florence as the “new Athens” pushed the artists upon an ambitious
campaign to finish the great artistic enterprises which were begun a
century before, at the time of Giotto.
24. Italian Renaissance
“Renaissance,” literally meaning “rebirth,” describes the revival of
interest in the artistic achievements of the Classical world.
The artists of the Renaissance were determined to move away from the
religion‐dominated Middle Ages and to turn their attention to the
plight of the individual man in society.
Individual expression and worldly experience are two of the main
themes of art.
The movement owed a lot to the increasing sophistication of society,
characterized by political stability, economic growth and
cosmopolitanism. Education blossomed at this time, with libraries and
academies allowing more thorough research to be conducted into the
culture of the antique world.
In addition, the arts benefited from the patronage of such influential
groups as the Medici family of Florence.
25. Renaissance
Leonardo da Vinci was the archetypal Renaissance man representing
the humanistic values of the period in his art, science and writing.
Michelangelo and Raphael were also vital figures in this movement,
producing works regarded for centuries as embodying the classical
notion of perfection. Renaissance architects included Alberti,
Brunelleschi and Bramante. Many of these artists came from Florence
and it remained an important centre for the Renaissance into the 16th
century eventually to be overtaken by Rome and Venice.
Some of the ideas of the Italian Renaissance did spread to other parts
of Europe, for example to the German artist Albrecht Dürer of the
'Northern Renaissance'. But by the 1500s Mannerism had overtaken
the Renaissance and it was this style that caught on in Europe.
35. Baroque Art:
1600‐1750
Characterized by a reaction against formulaic Mannerist
style.
Catholic Church was a big patron.
A return to tradition and spirituality.
Flourishing, flowing style; artists fond of curbing forms full
of movement.
40. Neo‐Classicism:1750‐1880
Originated as a reaction to the Baroque, a fanciful,
flourishing style that dominated from 1680‐1750.
Sought to revive the ideals of ancient Greek and Roman art.
Neoclassic artists used classical forms to express their ideas
about courage, sacrifice, and love of country.
Monticello is perfect architectural example in US
42. American Realism
Courbet: under the impact of the revolutionary upheavals
then sweeping Europe, had come to believe that the
romantic emphasis on feeling and imagination was merely
an escape from the realities of the time.
He said “I cannot paint an angel if I have never seen one.”
For Courbet, realism was akin to “naturalism”
45. Impressionism: Late 19th Century, Early
20th Century
Name was derived from Claude Monet’s painting:
“Impressionism, Sunrise.”
Characterized by visible brush strokes and an open
composition.
Emphasis on light and the changing qualities of light
reflecting the passage of time.
Focus on ordinary subject matter.
Paintings show movement and unusual vivid angles.
Artists favored working in open air to captur changing light.
52. Post Impressionism
Differed from Impressionists in the artist’s desire to attain
more form and structure as well as more expression and
emotion into their paintings. The artists led away from the
naturalistic approach.
Similarities between Impressionism and Post
Impressionsim include: both used a real‐life subject,
distinctive brushstrokes, thick layers of paint and vivid
colors. Still used short brush strokes of broken color.
56. Cubism
1907‐1914
Led by Picasso, also Duchamp.
Characterized by rejecting a single viewpoint.
3‐dimensional subjects were fragmented and redefined
from several points of view simultaneously.
New way of representing the world and new theories.
Influenced by Einstein’s “theory of relativity.”
61. American Social Realism
1930‐1950’s
Influenced by French Impressionism, and Surrealism.
Took as its subject the reality of American life.
Depicts lonlieness and isolation of the time.
Hopper’s Nighthawks (1942) depicts urban life reminsicent
of the French Imprssionists, but the people are lost in
thought, osolated, alone, while the barman carries on his
work. Though they are out of the dark night, they don’t
appear to be offered any shelter.
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66. Abstract Expressionism
1940‐1960’s
Jackson Pollock, Mark Rathko, deKooning.
The painter expresses his feelings and subconscious
thoughts through his work.
Marked by the use of brushstrokes and texture.
Massive canvases were employed to convey powerful
emotions through the glorification of the act of painting
itself.
Painter paints abstract forms which do not directly
represent a specific object.
Considered the “Golden Age” of American art.
69. Pop Art
1950‐1960’s
Led by Warhol and Lichtenstein.
Reflected a fascination with pop culture reflecting the
affluence of post‐war society.
Direct descendant of Dadaism in the way that it makes fun
of the art world.
74. Post‐Modernism
1960’s‐present
Led by Jasper Johns, David Hockney
Characterized by a move away from high‐brow art and
towards a more eclectic and populist approach.
Black figure pots :utilitarian, flat, one-dimensional, depict war scenes and everyday life\n
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Early Greek art shows movement and emotion. Based on the story of the Greeks defeating the Trojans\n
One of the first statues to be viewed in the round. Expression of anguish, perfect physical form, expression The Gauls were renowned for their fighting ability and this sculpture is a homage to the bravery of an enemy. Notice the blood near the wound on his right lung. He would have died in about 15 minutes.\n
Imperial portraits rendered in bronze and marble; Collosal Statue of Constantine \n
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The Pantheon-built 117-125 AD; marble, brick, concrete-constructed with a dome roof-entry portico derived from Greeks-based on sphere in interior-oculus (eye in Latin) in roof let in light\n
The Byzantine Empire refers to the spread of the Roman Empire, Churches, Manuscripts the Monks created, Byzantine Art: mosaics, large domes, gilded creations\n
Reims Cathedral, Chartres, Notre Dame, Florence Cathedral; Church’s dominance in society; medieval world: church manuscripts, monks created art; time-honored techniques, did not intend to represent reality in art; Gothic cathedrals reached toward heavens;\n\nChartres Cathedral (full name Cathédrale Notre-Dame de Chartres) is located in the medieval town of Chartres, about 50 miles from Paris.Not only is Chartres Cathedral one of the greatest achievements in the history of architecture, it is almost perfectly preserved in its original design and details. Chartres' extensive cycle of portal sculpture remains fully intact and its glowing stained-glass windows are all originals. Chartres is thus the only cathedral that conveys an almost perfect image of how it looked when it was built.In addition to its architectural splendor, Chartres Cathedral has been a major pilgrimage destination since the early Middle Ages. Its venerable history, exquisitely preserved architecture, and centuries of fervent devotion make for an atmosphere of awe and holiness that impresses even the most nonreligious of visitors. \n
Large-scale frescoes (painted into the plaster) of religious scenes makes a powerful impact: we feel so close to the even that we feel a sense of participation rather than observation. The entire scene takes place in the foreground and the scene falls within the beholder’s eye-level. Giotto is the first to be aware of the relationship between the viewer and the picture. His forms are three-dimensional, reality so forceful that they seem as solid and tangible as sculpture in the round. PAGE: 344-Janson. He uses patches of tone and by varying them, create deeper illusions of space. Fresco is painting plaster while the plaster is still wet. Must be painted quickly. Illustrations of biblical events communicated sacred themes to a mainly illiterate world. Giotto’s work had spatial depth. Lamentation of Christ: gaze is directed to principal subject; figures are fully in the round, the lady in lower left can turn her back to the surface of the painting. Attempted to add depth into paintings.Brunelleshi discovers laws of perspective in his architecture. \n
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Style reminds us of Giotto’s art with its sense of large scale, compositional severity and sculptural volume, but for Giotto, body and drapery form a single unit, as if both had the same substance; Masaccio’s figures are “clothed nudes” their drapery falling like real fabric. The setting of the painting reveals new architecture (Brunelleschi) and a scientific perspective. (page 413, Janson) Rebirth of Roman ideals of classical architecture. Applies mathematical perspective to create an illusion of space. He wanted to create the impression that if one looked into a side chapel was part of the building itself. Space would continue into the image. He creates one-point perspective where all the vanishing points converge. \n
The Birth of Venus” the bodies are more attenuated and drained of all weight and muscular power. They seem to float even when they touch the ground. All this seems to deny the basic values of Early Renaissance Art, yet the picture does not look medieval: the bodies, ether though they may be, retain their voluptuallness and are genuine nudes who enjoy full freedom of movement. Around 1500, the Papacy was growing stronger. Columbus, artists were granted powers, divine powers, by popes. Rebirth: the Roman empire is reborn.The world can be seen through the eyes of human kind. Man was in control of his world and could work harmoniously with nature. Man is now the center of his universe. Idealized, scientific figures. Rejection of stiff formality and dogmatism, and toward experimentalism. It depicts a cold morning where Aphrodite has risen from the sea. Elegantly drawn women. This piece was comissioned. Painting shows how far renaissance ideals have come: elegant, scantilyy-clad women are acceptable. \n
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Painting is today a mess; frescoe is disintigrating\n
Most famous of Leonardo’s paintings. Probably the most reproduced piece of work Actually very small picture. Enigmatic smile; Significance as a milestone in history of art: it shows skill in two techniques: grading of areas of color into one another—smokefilled scene. Second: chiascurro: the modeling of form of light and shadows. Classic landscape background.\n
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David: idealization of human figure is brought to its highest peak. Symbol of the individual, heroic spirit of the Florentine Republic. David was a hero of the bible. The scultpture was put down low for all to see. Sculpture ignobles faults remaining accessible and monumental, superhuman, conveys an eternal image of spiritual courage posture is classical: counterpostural, thought and action are combined in a single sculpture that is self-sufficient and doesn’t need a real weapon.\n
Also designed the dome of the Vatican. Pope Julius proposed that Michelangelo paint the ceiling of the Sistine Chapel. Lay on scaffolding, flat on his back, fresco, God grants Adam life, spirit.Monumental work \n
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Pinnacle of Renaissance artists, combined the best part of Renaissance painters. Became the icon that 19th and 20th centuries would aspire to. \nSchool of Athens: intellectual pursuits of man; famous philosophers convey their thoughts by their gestures and facial figures. Return of classical architecture.\n
Mannerism was a reaction to the perfect form of the Renaissance form. Parmigianno made Jesus too large, Madonna’s hands too large. Classified by anticlassical style,distortion; still retained classical elements.\n
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Bernini and Borromini\n
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Uinson of body and spirit, of motion and emotion, there is an implied presence of Goliath; Bernini conveys David as “Half a Pair,” David’s entire action is focused on his adversary. The space around David belongs to the statue because it is charged with energy. \n
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The first canvas fully embodying his practical realism. Courbet asked two men he had seen working on the road to come into his studio to paint them. He painted them lifesized, solidly and matter-of-factly with no obvious pathos or sentiment. We can’t see their faces; obviously the old man is too old for such work and the young man is too young. “Endowed with the dignity of their symbolic status, they do not turn to us for sympathy.” This painting was destroyed in Dresden in 1945.\n
Criticized by Courbet for being too flat, Manet avoids all methods since Giotto for transmuting a flat surface into a pictoral space. The grey background looks as near to us as the figure and just as solid. It’s as if the fifer stepped out of the picture, her would leave a hole. Here, then, the canvas has been redefined: it is no longer a window, but a screen made up of flat patches of color, or “Color Patch,” which was an entirely new concept in painting.\n
Out of realism, the Impressionists sought to capture the world on canvas as they saw it. “Impressionsim” was coined in 1874 after a hostile critic viewed Moet’s “Impressionism: Sunrise.” Monet refused to accept the term to define his own work.Classified by:\nMonet, Manet, Renoir, Degas \n
Flooded with sunlight, so bright that conservative critics claimed it made their eyes hurt; in this flickering network of color patches, the reflections on the water are as real as the banks of the Seine. Were it not for the woman and the boat in the foreground, the picture could hand upside down with hardly any difference in effect. Instead of adding to the illusion of real space, it strengthens the unity of the actual painted surface. \n
Scenes from the world of entertainment were favorite subjects for the impressionist painters. Renoir’s filled his work with a singular happy temperment. The flirting couples dappled with the sunlight and shadow, radiate a human warmth that is utterly entrancing, even though the artist permits us no more than a fleeting glance at them. Our role is that of the casual stroller, who takes in this slice of life as he passes.\n
Who is The Thinker? Partly Adam, partly Prometheus and partly the brute imprisoned in by the passions of his own flesh. The Thinker, like the nudes of Michelangelo, is free from the subservience of the undressed model. Anonymous so as not to fit any preconceived idea. He is “everyman.”\n
Impressionist only in its shimmering, luminous colors. An oblique view, it is severe, almost geometric in design. The tub and the woman form a circle within a square and the rest of the rectangular format is filled by a shelf so sharply tilted that is almost shares the plane of the picture, yet the pitchers on the shlelf are hardly foreshortened at all. The tension between 3-D and 2-D comes close to the breaking point. \n
One of the first woman painters, broke the barrier for women; was allowed to only because she was independantly wealthy. Brought impressionism to the United States. The Bath had an oblique view, simplified colors and flat composition shows her debt to her mentors Degas and Manet.\n
Tanner was the first important black painter in America. The Banjo shows no sentimentality in similar subjects by other American painters, the scene is rendered with direct realism.\n
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The original German title given to the work by Munch was Der Schrei der Natur (The Scream of Nature). The Norwegian word skrik is usually translated as scream, but is cognate with the English shriek. Occasionally, the painting has been called The Cry.In a page in his diary headed Nice 22.01.1892, Munch described his inspiration for the image thus:“I was walking along a path with two friends — the sun was setting — suddenly the sky turned blood red — I paused, feeling exhausted, and leaned on the fence — there was blood and tongues of fire above the blue-black fjord and the city — my friends walked on, and I stood there trembling with anxiety — and I sensed an infinite scream passing through nature.”\nOne theory advanced to account for the reddish sky in the background is that Munch had observed a powerful volcanic eruption of Krakatoa in 1883: the ash that was ejected from the volcano left the sky tinted red in much of eastern United States and most of Europe and Asia from the end of November 1883 to mid February 1884.[3] This explanation has been disputed by scholars who note that Munch was an expressive, rather than descriptive painter, and was therefore not primarily responsive to literal rendering. Alternatively, it has been suggested that the proximity to the site of the painting of both a slaughterhouse and a madhouse may have offered inspiration.[4]The scene was identified as being the view from a road overlooking Oslo, the Oslofjord and Hovedøya, from the hill of Ekeberg. At the time of painting the work, Munch's manic depressive sister Laura Catherine was interned in the mental hospital at the foot of Ekeberg.In 1978, the Munch scholar Robert Rosenblum suggested that the strange, sexless creature in the foreground of the painting was probably inspired by a Peruvian mummy, which Munch could have seen at the 1889 Exposition Universelle in Paris. This mummy, which was crouching in a fetal position with its hands alongside its face, also struck the imagination of Munch's friend Paul Gauguin: it stood model for the central figure in his painting Human misery (Grape harvest at Arles) and for the old woman at the left in his painting Where Do We Come From? What Are We? Where Are We Going?. More recently, an Italian anthropologist speculated that Munch might have seen a mummy in Florence's Museum of Natural History which bears an even more striking resemblance to the painting.[5][edit]Depersonalization disorderThe environment of The Scream is often compared to that of which an individual suffering from Depersonalization disorder experiences, such a feeling of distortion of the environment and one's self.[6] The image may represent the pain and agony experienced in organic diseases such as trigeminal neuralgia, a paralysing all encompassing pain\n
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Picasso’s self portrait; while his eyes are large, the rest is like a mask\n
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Nude Descending a Staircase, No. 2Duchamp's first work to provoke significant controversy was Nude Descending a Staircase, No. 2 (Nu descendant un escalier n° 2) (1912). The painting depicts the mechanistic motion of a nude, with superimposed facets, similar to motion pictures. It shows elements of both the fragmentation and synthesis of the Cubists, and the movement and dynamism of the Futurists\n
The Persistence of Memory is a painting by the famous Spanish surrealist artist Salvador Dali. The original title of this painting is "La persistencia de la memoria" and it depicts a fetus-like head lying on the ground, like a fish that was washed ashore and now decaying after a lost struggle gasping for air. There are four watches in this painting, three of which appear to be molten, as if made out of cheese. The only watch whose structure doesn't appear to be malformed - unlike other watches it is orange in color - is sitting on a desk-like object. The ants seem to have found a point of interest in the center of the orange watch.Without having seen this painting in person it is not difficult to think that the dimensions of this painting are bigger than what they really are. This minimalist painting is only 9 1/2 by 13" inch (24.1 x 33cm). Perhaps the reason for this illusion is that art enthusiasts often become familiar with this painting in the form of a wall poster.Rendered in Dali's hallmark faint brown, yellow and blue colors this painting has earned him world-wide recognition at age 27. The meaning of this painting is open to interpretation and is discussed in the text that follows.Dali's artistic genius lies in his ability to create ideas that lie on the edge between being disturbing and arousing curiosity. To further investigate this statement, Marilyn Manson - who had admittedly been influenced by the works of Salvador Dali - is known for creating art based on the shock factor. In comparison, Dali, however, doesn't go over the border to create visions based on disgust and shock value alone. Dali isn't trying to shock the viewer of his paintings, but to bewilder, to make the images speak for themselves. And in the case of Salvador Dali, it is difficult to tell what the questions are that the viewer should be asking looking at his paradoxical visual statements.The Persistence of Memory MeaningOne of the questions those who had shown interest in Dali's work ask is "What is the meaning of these paintings?". Whether there is certain meaning in Dali's work is not questionable. Any serious artist understands the meaning of his own work. Dali himself almost never explained his works to the public with seriousness, although one can be curious about Dali's influences.What is the meaning of The Persistence of Memory? The painting itself is named adequately, as it is hard to forget the feelings provoked by observing the contents of the painting. The landscapes in many of Dali's paintings, including The Persistence of Memory, resemble Port Lligat, the home of Salvador Dali. More than often Dali uses sandy beaches, corrupted by age sail boats, and other imagery he had been exposed to as a child in his home town.While the contents of this painting are enigmatic and open to interpretation, let's not forget that Dali was also a philosopher, beside being an artist, as most people know him. We also know that Dali had significant interests in science and psychology (He studied the works of Freud and Nietzsche, for example). The painting is nothing more than a collection of ideas, that are to do with the interpretation of dreams, perception of reality, time, birth, death and sexual desire. The ants, seemingly attacking the orange clock positioned on the rectangular table-like object perhaps indicate the anxiety associated with time. And what are the origins of our anxieties associated with time? Is it being too late for work? or is it not having completed or accomplished something before we die? Whether we are aware of it or not, it is reasonable to believe that we all understand, even if only on subconscious level that some day we are going to die. This psychology and understanding of the reality of death may configure our behavior.The Persistence of Memory may have many interpretations. Some are more meaningful, others remain elusive. Perhaps the images of the melting clocks are nothing more than ideas influenced by the Camembert cheese left for too long of a period of time on the table on a warm sunny day (as Dali had previously described his inspiration for this painting, this is noted by Dali himself in his book, conveniently titled Diary of a Genius. According to Dali, he was a self-proclaimed genius). But remember that Dali would often make up ridiculous explanations for his paintings to purposely mislead people. The Camembert is an example of just that. By doing this Dali not only opened the doors for discussion of multiple interpretations of his art, but also made criticizing his work nearly impossible for people he thought who possessed lesser intellect than that of himself. In a similar way, for example, and with the same intentions, Leonardo DaVinci wrote backwards and upside down in his journals, so that the meaning of his work could only be interpreted when looked at in a mirror's reflection by those who were clever enough to understand it.Painting Analysis\n
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Painted huge canvasas that were on the floor; often using house paint. See film\n