Art in the Age of Imperialism - PowerPoint Presentation

Slide1

Art in the Age of Imperialism

Slide2

What is Art?

For most

of art history, an artistic object like a painting or sculpture was considered quite different from

a work

of craftsmanship, such as a piece of furniture or a decorative plate.

In

the Age of Empire, paintings

, sculpture

, murals, and mosaics were considered art, but the Lidded Saltcellar would not have been.

Slide3

Art history

is closely related to other disciplines such as anthropology, history, and sociology

.

In

addition, art history sometimes overlaps with the fields

of

aesthetics,

or the philosophical inquiry into the nature and expression of beauty; and

art criticism

, or the explanation of current art events to the general public via the press.

Slide4

Methods and Inquiries of Art History

In the past, art historians often limited their focus to what was called “fine art,” which generally included paintings, prints, drawings, sculpture, and architecture, usually produced specifically for appreciation by an audience who also understood these objects as works of art

.

Today

we define art much more broadly, also taking into consideration objects that in the past were dismissed as “craft”: textiles, pottery, and body art such as tattoos, for example.

Slide5

Art historians also consider objects that might not be considered art by their intended audience, including mass-produced posters and advertisements and even the design of ordinary household items like telephones, forks, and the living room sofa.

Art historians acknowledge that the meaning of a work of art can shift over time, and that an artwork may be perceived differently by viewers who approach it from different perspectives.

Slide6

Art historians acknowledge that the meaning of a work of art can shift over time, and that an artwork may be perceived differently by viewers who approach it from different perspectives.

Differences such as social status, education, physical access to a work of art, religious background, race, and gender have an impact on the construction of the meaning of a work of art.

Slide7

ART HISTORY

Art

history is an academic discipline dedicated to the reconstruction of the social, cultural, and economic contexts in which an artwork was created

.

The

basic goal of this work is to arrive at an understanding of art and its meaning in its historical moment, taking into consideration the formal qualities of a work of art, the function of a work of art in its original context, the goals and intentions of the artist and the patron of the work of art, the social position and perspectives of the audience in the work’s original time and place, and many other related questions.

Slide8

Aesthetics of Art

A third type of scholar studies pure aesthetics, beauty in the absence of context.

A

professor of

aesthetics

would

be concerned primarily with

formal analysis

of a work.

An

art critic

would be most interested

in

contextual

analysis

: figuring out what a work means or was meant to mean, given when, by whom,

and how

it was created.

An

art historian combines these different types of inquiry.

Slide9

Like all subjects, art has its own lingo.

It

is hard to describe

a work

of art without the right vocabulary, just as it would

be hard

to comment on a baseball game without knowing

the words

“strike” and “pitcher.”

By

manipulating the

elements of

art, an artist can manipulate his viewer, too

.

The most beautiful colors, laid on confusedly,

will not

give as much pleasure as the chalk outline of

a portrait.” Aristotle

(384-322 B.C), who was probably

the world’s

first professor of aesthetics

Slide10

The Nature of Art Historical Inquiry

Art historians generally analyze works of art in two ways that are distinct from one another, but also

interrelated.

These

two modes of analysis are called formal analysis and contextual analysis

.

Slide11

Formal Analysis

Formal analysis focuses on the visual qualities of the work of art itself

.

A

basic assumption of formal analysis is that the artist makes decisions related to the visual aspects of the artwork that can reveal to us something about meaning

.

From

this point of view, aspects of meaning are intrinsic to the work of art

.

Terms

associated with the formal qualities of works of

art are often called

the “elements of

art.”

Slide12

Formal analysis requires excellent skills in observation and description

.

Beginning

our study of an artwork with formal analysis keeps the focus on the object itself, which to the art historian is always primary

.

Slide13

Contextual Analysis

Contextual analysis involves looking outside of the work of art in order to determine its meaning

.

This

involves examining not only the context in which the work was created, but also later contexts in which the work was and continues to be consumed

.

Contextual

analysis focuses on the cultural, social, religious, and economic context in which the work was produced.

Slide14

Art historians may examine issues of patronage, viewer access to the work, the physical location of the work in its original context, the cost of the work of art, the subject matter in relation to other artworks of the time period, and so on.

Slide15

Art history often emphasizes a chronological development with the assumption that within one cultural setting the work of one generation of artists will have an impact on following

generations.

Art

historians often use comparative study.

Then, we can seek to relate these changes to historical context

.

Art

history provides information and insights that add background to the meaning and significance of the works of art we study

.

As

we place these works of art in their cultural and historical context, they are connected to the long history of events that has led up to our present culture.

Slide16

Art historians often begin their analysis with a close examination of a work of art

.

Direct

examination of the work of art is ideal because much is lost when we look at a reproduction rather than an original work of art

.

In

the case of sculpture, it is often difficult to get a proper sense of the scale and the three-dimensional qualities of a piece from a photograph

.

We

lose the texture and some of the rich colors when we experience paintings in reproduction.

Slide17

It is quite common, though, for art historians to settle for studying from reproductions due to practical constraints

.

In

some cases, works of art might be damaged or even lost over time, and so art historians rely on earlier descriptions to aid in their formal and contextual analysis

.

In

addition to examining the work of art in question, art historians will also seek to understand any associated studies (sketches, preparatory models, etc.) and other works by the artist and his or her contemporaries

Slide18

Written documents used by art historians:

Art historians also use many written sources in the quest for contextual information about a work of art

.

Often

these texts are stored in archives or libraries

.

Archival

sources may include items such as letters between the artist and patron, or other documents pertaining to the commission, and art criticism produced at the time the work of art was made.

Slide19

An art historian might also search for written documentation about the materials used to produce the work of art, such as their cost and source, and about the function of the

artwork—how

a particular sculpture was used in ritual practice, for example

.

Art

historians also seek to situate the work in the context of the literature, music, theater, and history of the time period.

Slide20

Art historians may also rely on interviews with artists and consumers of works of art

.

This

is especially the case in cultures that rely more on oral history than on written documents

.

Guided

by the field of anthropology, some art historians also use methods such as participant observation to understand the context of a work of art.

Slide21

As an academic discipline, art history arose in the mid-eighteenth century.

The ancient Roman historian Pliny the Elder (23–79

c.e

.) sought to analyze historical and contemporary art in his text

Natural

History.

During the Renaissance, the author and artist Giorgio Vasari (1511–74) gathered the biographies of great Italian artists, past and present, in

The Lives of the

Artists.Vasari’s

text provides us with insights into the changing roles of artists in society during this period and the developing concept of artistic genius.

Slide22

Development of modern art history

Modern art history was strongly influenced by eighteenth-century Enlightenment

philosophy.

Johann

Joachim Winckelmann

(1717–68) was a German scholar who shifted away from Vasari’s biographical emphasis to a rigorous study of stylistic development as related to historical context

.

Through

the nineteenth and twentieth centuries, art historians continued to develop approaches that placed increasing emphasis on an understanding of the interrelationship between the formal qualities of a work of art and its context.

Slide23

Historical Art Periods

Much of what we know of the earliest life on earth has been revealed through a study of the objects or artifacts that remain from early

cultures.In

many cases, the objects that remain are those made of enduring materials such as stone, metal, or fired clay, as opposed to those made of perishable materials like wood or fibers

.

Environmental

conditions also have a major impact on preservation.

Slide24

The hot dry climate of the desert in Egypt, for example, enabled the preservation of even delicate materials like papyrus, and the sealed atmosphere of a cave or tomb likewise helped to preserve the objects contained within them for our wonder and enjoyment centuries later

.

In

contrast, the humid climate of West Africa means that objects made of perishable materials have had little chance of survival over the course of decades, not to mention centuries.

Slide25

Why we study whom we study:

This is one reason that the history of art as a discipline has placed greater emphasis on Western cultures, often neglecting to focus on developments in Nonwestern cultures

.

It

is important to recognize that the civilizations that are most often studied in art history courses are not necessarily those where the most or the best art was made

.

Rather

, they are the civilizations whose art has been preserved and whose art has been discovered.

Slide26

Ancient Civilizations: Old Stone Age

The oldest works of art that we will consider are the cave paintings found in

Chauvet

Cave in southeastern France

.

These

paintings, discovered in 1994, date from c.30,000

b.c.e

. and thus are placed in the Old Stone Age (Upper Paleolithic Period).

Except for a minimal use of yellow, the paintings and engravings in

Chauvet

Cave were created using red ochre and black charcoal and depict animals such as horses, rhinoceros, lions, buffalos, and mammoths.

Slide27

Lascaux and Altamira cave paintings:

Later cave paintings (c.15,000–10,000

b.c.e

.) have also been discovered in other parts of France and in Spain, with Lascaux and Altamira being the most famous

.

The

art in these caves takes the form of large colored drawings of animals such as horses, bears, lions, bison, and mammoths, and the paintings include several outlines of human hands

.

The

earliest scholarship on these drawings considered them to be the spontaneous scribbling of primitive cavemen

.

However

, with further study, it became apparent that the various groups of drawings had been created by skilled artists working within an established tradition.

Slide28

However, with further study, it became apparent that the various groups of drawings had been created by skilled artists working within an established tradition.

The

artists used pigments of red and yellow ochre to add color to the elegant black outlines they had created using charcoal

.

Though

we cannot be sure of their original function, it is possible that these works were created as a part of hunting ceremonies or other ritual behaviors.

Slide29

Woman of

Willendorf

(Venus)

Another well-known group of artworks from the Old Stone Age are small stone female figures that have exaggerated bellies, breasts, and pubic

areas.

The

best known of these figures is the

Venus (or Woman) of

Willendorf

(c.28,000–25,000

b.c.e

.), which is about four and one-eighth inches

high.In

contrast to the exaggerated female features of the body, the facial features of the statue are undefined, the arms are barely visible, and the feet are missing

.

Scholars

contend that these statues were fertility figures although it is not known precisely how they were used.

Slide30

Art of the Middle Stone Age:

During the Middle Stone Age (Mesolithic Period) the climate warmed, and a culture developed that produced art similar in some ways to the cave paintings of the Paleolithic Period

.

With

the warming of temperatures during this era, cave dwellers moved out of their caves and began using rock shelters, as evidenced by the various paintings that have been discovered on such locations in eastern Spain.

Slide31

What makes the rock shelter paintings different from the cave paintings?

The rock shelter paintings, like the cave paintings that preceded them, demonstrate the skill of their creators in the depiction of animal figures

.

What

sets the rock shelter paintings apart from the cave paintings is their depiction of the human figure

.

Except

for one human figure found in the paintings at Lascaux, cave paintings did not include any human beings

.

The

rock shelter paintings, however, portray human beings, both alone and in groups, and there seems to be an emphasis on scenes in which human beings dominate animals.

Slide32

The rock shelter paintings, however, portray human beings, both alone and in groups, and there seems to be an emphasis on scenes in which human beings dominate animals

Slide33

The New Stone Age

The art forms most often linked with the New Stone Age (Neolithic Period) are rings or rows of rough-hewn stones located in Western Europe

.

These

formations have been dated as early as 4000

b.c.e

.

The

stones used were often exceedingly large—as much as seventeen feet in height and fifty tons in weight

.

Indeed

, the sheer size of these works led historians to call the stones megaliths, meaning “great stones,” and the culture that created these works is often termed “megalithic.”

Slide34

Stonehenge, England

The

most well known of these rock arrangements is the one found at Stonehenge on Salisbury Plain in Wiltshire, England

. Stonehenge

is believed to have been built in many phases around 2100

b.c.e

. Stonehenge features concentric rings made with

sarsen

(a form of sandstone) stones and smaller “bluestones”—rocks indigenous to the

region.

Slide35

Stonehenge, cont’d

The outermost ring is comprised of huge

sarsen

stones in post and lintel construction—two upright pieces topped with a crosspiece, or lintel

.

The

next ring is composed of bluestones, which encircle a horseshoe-shaped row of five lintel-topped

sarsen

stones—these are the largest ones used at Stonehenge, with some weighing as much as fifty tons

.

Outside

the formation, to the northeast, is the vertically placed “heel-stone.”

If

one stands in the center of the rings and looks outward, this “heel-stone” marks the point at which the sun rises on the midsummer solstice.

Slide36

Usually, art thrives in highly organized cultures with stable population centers—usually great cities—that house ruling classes who in turn support the work of

artists.

Also

, if a civilization has a tradition of protecting its art in locations that are largely inaccessible, it is more likely that the works from that culture will survive to a point where they are included in a study of art history

.

Many

extant artifacts have come from burial chambers, caves, and tombs, where they have been protected by being naturally concealed.

Slide37

ANCIENT MESOPOTAMIAN ART

The civilizations that arose in Mesopotamia in the valley between the Tigris and Euphrates Rivers developed writing and arts in parallel with Egypt

Unfortunately, the Mesopotamian civilizations formed in a valley that lacked the natural barriers of deserts and mountains that protected

Egypt.T

his

left them vulnerable to invasion, and hence, the history of this ancient region is one of successive conquest and destruction

.

Moreover

, the use of more perishable materials by Mesopotamian civilizations has left us with fewer examples of their arts

Slide38

Sumeria

From around 4000

b.c.e

., the Sumerians in Mesopotamia created impressive sculptures and buildings

.

Religion

was a central aspect of Sumerian life, and the Sumerians built massive temples at the centers of their cities

.

Less

complex platform structures evolved over time into the stepped pyramids called ziggurats.

Slide39

Slide40

Akkadians

take over

Sumeria

Around 2334

b.c.e

., the cities of Sumer came under the rule of Sargon of Akkad

.

Although

the

Akkadians

spoke a different language from the Sumerians, they assimilated Sumerian culture

.

With

the

Akkadian

dynasty, loyalty to the city-state was supplanted by loyalty to the king, and consequently the art of this period tends to reflect an emphasis on the monarchy, with

Akkadian

rulers depicted in freestanding and relief sculptures.

Slide41

Akkadians

lose control

Around 2150

b.c.e

.,

Akkadian

rule came to an end as the

Guti

, barbarous mountaineers, invaded and took control

.

About

fifty years later, however, the

city

of Sumer were able to reassert control, and a Neo-Sumerian ruler was established in the King of Ur

.

Perhaps

the greatest known works of this era were the ziggurats that were built at the city centers

.

The

ziggurats functioned primarily as temples but also served as administrative and economic centers.

Slide42

Babylonians

The next important civilization in Mesopotamia was that of the Babylonians

.

For

centuries Mesopotamia had witnessed the coexistence of several independent city-states, but around 1792

b.c.e

., Hammurabi, king of the city-state of Babylonia, was able to centralize power

.

Hammurabi

left an enduring legacy in that he codified Babylonian law—the Code of Hammurabi is the oldest legal code known in its entirety.

Slide43

The best-known artwork from this period, preserved in the Louvre Museum, is related to this code of law; it is a stone stele onto which Hammurabi’s code is carved with a sculpture in high relief at the top that depicts Hammurabi receiving inspiration for his code of law from the sun-god, Shamash.

Slide44

Throughout the seventh century

b.c.e

., the Assyrian hold on power weakened, and from c.612–538

b.c.e

., Babylonia once again became the dominant force in the region

.

It

was during this Neo-Babylonian period that the famous hanging gardens of Babylon were constructed

.

Another

important construction at this time was the gateway to the great ziggurat of the temple of

Bel

, called the Ishtar Gate, which is considered one of the greatest works of architecture in which figures—in this case animal figures—are superimposed on a walled surface.

Slide45

Another important construction at this time was the gateway to the great ziggurat of the temple of

Bel

, called the Ishtar Gate, which is considered one of the greatest works of architecture in which figures—in this case animal figures—are superimposed on a walled surface.

Slide46

Slide47

Persian Art

The Persian Empire (c.538 b.c.e.–330

b.c.e

.) flourished in what is present-day Iran

.

The

Persians were notable for their impressive architectural achievements, the most important of which was the palace at Persepolis, which was constructed of stone, brick, and wood and reflects the influence of Egyptian architecture.

Slide48

Assyria

While the Sumerian,

Akkadian

, and Babylonian cultures grew in southern Mesopotamia, the Assyrians dominated in the north

.

From

about 900

b.c.e

. to around 600

b.c.e

. the Assyrians were the most powerful civilization in the Near East

.

Among

the most notable of Assyrian artworks are relief carvings, which often depict battles, sieges, hunts, and other important events

Slide49

Art History vs. Art Criticism

When art historians look at a work, they usually take two perspectives: their own, as modern viewers

, and

the viewpoint people would have had when the work was created

.

This double vision is crucial to

art history

.

Unlike

art criticism, which focuses on

explaining works of art, art history is more like

detective

work.

An art historian cares as much about the artist or culture that produced a work as he does

about what

the work represents.

Slide50

The Building Blocks of Art

Creating an Image:

Line

Shape

Form

Space

Slide51

LINE

Line is the most basic element of art. Drag a stick through

the dirt

, and you’ve created line.

Anything

from a quick sketch

done with

a pencil10 to a detailed tattoo relies on line.

Architecture, too

, depends on lines to convey height and grandeur.

Slide52

Line - Continued

Straight lines convey harmony and balance, but they

look inorganic.

Take a look at yourself in the mirror—you won’t

see many

straight lines. You

will see a lot of curves, from

your

hairline

to the balls of your feet

.

Because

they dominate

the natural

world, curved lines tend to look organic to human eyes.

Slide53

Slide54

Examine

Three Musicians (1921) by

Pablo Picasso (1881-1973

).

The

human figures are created out of mostly straight lines.

The difference

between what we expect when we look at

people (

curves) and what we see here (straight lines) can be jarring.

The contrast

makes the viewer stop and look a little longer.

We might

respond with similar unease to a building crafted

entirely from

curves—such as Frank

Gehry’s

Dancing House.

Slide55

LINE

Lines can be thin or thick, long or short, straight or

wavy—and

how they look affects how we react to them.

A

thin,

delicate line

might imply frailty, a thick line strength, a wavy

line movement.

The Greek philosopher Aristotle argued line was the

most important

element of art because it is the most informative.

Anyone can recognize a stick-figure drawing of a man, flower,

or tree

, and people appreciate that to which they can easily relate

.

Slide56

SHAPE: 2

nd

place

The second most basic element is

shape

. A

shape

is always

two dimensional

,

meaning

it exists only on a flat plane.

All polygons are

shapes: triangles, squares, pentagons, and so on. A circle

is also

a shape, as is any area defined by outside lines.

Slide57

FORM: 3-dimensional

Form

is shape made

three-dimensional

.

Whereas a square is

a shape

, a cube is a form.

A

sculpture

is the clearest application

of form

in art, but artists who work in two dimensions, like

comic book

illustrators, can create the illusion of form by using lines and shapes.

Slide58

Slide59

Lost in Space

Both shapes and forms occupy space

.

On

a

two-dimensional plane

, the space occupied by an object or figure is

positive space

,

and

the space around it is

negative space

.

The

musicians

in

Picasso’s

painting create positive space; the brown background

is negative

space.

Negative

space can also be created in smaller

areas within

the larger positive space of an object. If you drew a donut

, the

space inside it would be negative space.

Slide60

In

Pacasso’s

painting the musicians occupy the positive space and brown around them is the negative space.

Negative space can also be created in smaller

areas within

the larger positive space of an object. If you drew a donut

, the

space inside it would be negative space.

Slide61

When carving is used to turn a two-dimensional surface into

a three-dimensional

form, as in the carvings around the

doorways of

old buildings, it is said to be in

high relief

or

low (also

called bas) relief

,

depending on how much the carving sticks out from or

reaches into the surface.

None of these terms for space apply to

freestanding sculptures

,

which

have their own space definition:

fully in the round.

Slide62

Enhancing an Image: Color & Texture

Color is an element of art. It is not as crucial as line

for creating

a recognizable image, but can convey great meaning

.

All

colors

except

white and

black

are called

hues.

Black and

white are

neutrals

. When black and white are mixed,

gray results

.

When

black is added to a hue, the hue grows darker,

and it

is said to have a lower value.

Mixing

white into a hue

increases its

value, making it lighter.

Slide63

All surfaces absorb some wavelengths of light and reflect others

; our

brains perceive the reflected wavelengths as color.

The three

primary

colors

,

red, blue, and yellow

,

are so called because

the receptors

in our eyes are set up for them.

We

perceive other colors as mixes of red, blue, and yellow.

Slide64

Green (a mix of blue and yellow), orange (a mix of red and yellow), and violet or purple (a mix of

blue and

red) are the three

secondary colors

.

Secondary

colors combine with primary colors to form

tertiary colors

.

The

color wheel shows the full spectrum of primary, secondary, and tertiary colors; the points

of the

triangle are positioned on three of the six tertiary colors.

Slide65

Slide66

Meaningful Color:

Colors have great significance to people.

For

example, all around the world, green is associated

with nature

, red with danger, and blue with water.

Colors

also have different meanings in different cultures

, which

is very important to contextual analysis.

In Western art,

red, orange and yellow

are considered

warm colors

,

used to represent cheerful

ideas

,

while

green, blue, and purple

are

cool colors

.

Warm

colors tend to jump out at the viewer, while

cooler colors

fade into the background.

Western

artists of the nineteenth century were aware of these

properties of

color, and used them purposefully to create contrast.

Slide67

Many works of art have a

focal point

, a place

where the viewer’s eye naturally drifts. Look at Vincent

van

Gogh’s

The Starry Night (1889).

Your

eyes should end up focused on the moon. This is partly due

to color

: the warmer color of the moon draws the eye, and

the swirls

of yellow on the blue background lead to it. Lines,

real and

implied, also draw the eye toward the moon.

Slide68

Color is perceived differently in different light. The human

eye evolved

for natural sunlight; artificial light is a relatively

new development

. If you look at an object by daylight, you’ll see

its local

color, or natural hue.

In

non-natural light, we see

an object’s

optical

color

,

the combination of the object’s

actual color

and the action of the light

source.

Slide69

Consider how set designers use different colors to set the

mood in

different film and theater scenes.

The

most extreme

effect results

from the use of

arbitrary color, as in

Three Musicians.

People’s skin comes in a marvelous range of shades, but

blue isn’t

one of

them.

Artists

use arbitrary color for many reasons

, but the

usual intent is to subvert viewer expectations.

Slide70

TEXTURE

Like color, texture isn’t necessary to depict a

recognizable subject

.

Outside

of art, texture refers to how something feels.

Within art, texture refers both to how something feels and

to how

it

looks like it might feel.

Slide71

Sculptures have texture based

on the

materials used to create them

.

Stone has a texture, as

do wood

, bronze, or any other material an artist might use.

Carvings made on these surfaces add additional texture.

Slide72

Two-dimensional art, such as a painting, can still have

three dimensional texture

.

Artists

can use thick brushstrokes or

even literally

stick things on their canvases to help create

Texture

.

If you

touched a painting created with these techniques, you’d

feel the

same texture you see.

Slide73

Texture can also be used to create an

illusion of a third

dimension in two-dimensional artworks.

In Francisco de

Zurbarán’s

Still Life with Pottery Jars (1636), the metal objects

appear shiny and smooth, as they would in real life.

The pottery jars all have textures that look as if they would

feel ridged if

touched.

Zurbarán

achieved this by contrasting the reflective appearance of the ridges and The darkness of the shadows

.

Slide74

Perspective:

Adding Depth to an Image

Line, shape, form, and space create a recognizable image.

Color

and texture make images

more sophisticated

and create more recognizable and realistic objects.

Perspective

,

a technique artists use

to create

illusions of depth, distance, and proportion

, adds even more complexity to two-dimensional art.

Slide75

An object seen close-up will appear larger than the same

object in

the distance.

A

car appears smaller as it drives off.

If

you

hold your

fingers in front of an eye, a faraway face will appear

no larger

than the space between your

fingertips.

Once

an

object is

far enough, it vanishes to the naked eye. The point at

which it

disappears is its

vanishing point

.

Slide76

When drawing or

painting objects

both near and far,

linear perspective is used to create

an

illusion

of distance. An artist sketches a vanishing point,

and then

draws the lines in the artwork narrowing toward it.

When a work has multiple

vanishing points

, as a painting of two roads might, the artist first places

all of

the vanishing points in relation to one another.

Slide77

When painting outdoor scenes, artists often make use of

aerial perspective

.

Even on a clear day, the atmosphere contains

water vapor

and dust. These particles make distant objects

appear fuzzy

and fainter.

To

depict this phenomenon, an artist

blurs and

recolors

distant objects—emulating the effects of looking

at them

through a long stretch of air.

Thus

, in Caspar

David Friedrich’s

Wanderer Above the Sea of Fog (1818), not only

are

the

rocky crags in the distance smaller on the canvas than

the nearer

ones, they’re painted with less detail and lighter colors.

Slide78

Artists use other perspective techniques, including distance

and proportion

, to add depth.

Overlapping

objects create

the illusion

that one is in front of the other.

An

object at

the bottom

of an image appears nearer, while one at the top

appears further

away, even when both take up equal space.

Larger, detailed

objects appear closer, and smaller, fuzzier objects

more distant

.

Most

artists combine all these techniques,

particularly when

painting landscapes and other large-scale scenes.

Slide79

Let’s Review:

a.

context

f. Intention

b

. art

history

g. art criticism

c

.

anthropology h

. sociology

d

.

aesthetics

i

. patronage

e

. formal

qualities j

. function

_____

1. writing on current art

_____ 2. visual characteristics of a work of art such as line, color, form

, and texture

_____ 3. academic discipline that studies human behavior and culture

_____ 4. the social, cultural and economic conditions in which a

work of

art is made

_____ 5. academic discipline that studies society and its institutions

_____ 6. term referring to an artist’s goal in making an artwork

_____ 7. the purpose of a work of art

_____ 8. philosophical discipline that asks the question, “What

is beauty

?”

_____ 9. the purchase of art by wealthy collectors

_____ 10. discipline that studies the meaning of art in its own context

Slide80

Formal Analysis Contextual Analysis

1. observes and describes visual qualities of the work

2. does not take into account any particular

viewer’s biases

,

limitations

, or point of references

3. could explain how Pope Julius II

understood Michelangelo’s

Sistine Chapel ceiling

4. used to compare and contrast artistic styles

5. studies properties intrinsic to the work of art

6. includes consideration of the original location of

the work

7. looks at the cultural, social, economic, and

religious context

surrounding the work of

art

8. examines financial structures of art production such

as patronage

9. how the style of a work of art is determined

10. evaluates the reception of the work of art in its

own time

and in later eras

Slide81

True or False

1

. Art history has traditionally focused on objects defined as art in their own

historical context

.

2

. The fine arts include painting, sculpture, architecture, and graphic design.

3

. Every work of art has a definitive meaning

.

4

. Objects with everyday functions, such as textiles, baskets, and pottery, were

not included

in the history of art until recently.

5

. Contemporary art historians are reinforcing the traditional distinction between

fine art

and craft.

6

. Items of mass culture, such as movie posters and advertisements, belong to

the history

of art.

7

. Industrial design is outside the realm of art history.

8

. Women’s studies has changed the way we look at the history of art.

Slide82

criticism

color preparatory

models

direct

participation

cost sculptures

interviews

exhibition

letters sketches texture

scale

reproductions

commissions

ritual

1. Slides and photographs of paintings do not capture their

unique ______

or

______.

2. Art

__________from

the time period reveals

how contemporary

viewers interpreted works of art.

3. Reproductions of

______fail

to convey

their ________in

relation to the human body.

4. Archival documents such as

____

or contracts

pertaining to _______

provide insight into the personal and artistic life of

the artist

.

Slide83

criticism color preparatory models direct

participation cost sculptures interviews

exhibition letters sketches texture

scale reproductions commissions ritual

5. Art historians prefer

_______

observation of an artwork

compared to

looking at

______.

6.

______________with

artists are a direct testimony of

the artist’s

intentions and goals.

7. Art historians learn about an artist’s process by looking

at ____________and __________.

8. The

__________history

of a work of art tells historians how it

has been

received by viewers throughout time

.

9. Observer

__________is

a method used by cultural

anthropologists who

study the

_______

functions of art.

Slide84