Introduction to Art History
4
CLARA PEETERS, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1’ 7
3/4” x 2’ 1 1/4”. Mu...
5
JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670. Oil on canvas, 1’
10” x 2’ 1”. Mauritshuis, Th...
Taste
Taste
Taste as an aesthetic, sociological, economic and
anthropological concept refers to cultural patterns of choice
and ...
What determines aesthetic judgements?
What gives us certain tastes?
Is it really just a function of our “ingroup” bias?
And why should we even care about things we don’t like ?
Well, for one…..because art exists for more than one subgroup or individual….
Art is part of our Public (shared) Experience
ART is reflective of the
HUMAN EXPERIENCE…good
and bad.
Edvard Munch, “The Scream”
1893, National Gallery, Oslo Norway.
Art Criticism
Liberal Arts
In classical antiquity, the "liberal arts"
denoted the education worthy of a free
person (Latin: liber, "free...
Liberal Arts vs. Dogma and
Authority
The American Association for the
Advancement of Science describes a
liberal education...
ART is not just for interior design and we are not just “CONSUMERS”!
…..and this is why Museums and Galleries are so important.
ITS GOOD TO GET OUT OF THE HOUSE and AWAY
FROM THE MARKETERS!!!
• ART HISTORY IS NOT ABOUT “TASTE”
GENERAL EDUCATION
PHILOSOPHY
• The General Education
program at Palm Beach State
College prepares the
students for lifelon...
• "Most of the claims of such
broad-based shortages in the
U.S. STEM work force come
from employers of STEM
personnel and ...
ART IS POWERFUL
The reason art can please, is
also because it can
displease…..
ART IS POWERFUL
…. it can alternately challenge
or reinforce the value system
of any given culture.
It is one of many plac...
EGYPT
Menkaure and Queen
Kamerernebty Old
Kingdom, Ancient
Egypt 4th Dynasty 2548-
2530 BCE
Egyptians Valued
STABILITY…..
...
ART and BEAUTY
Art should comfort the disturbed
and disturb the comfortable!
It has MANY purposes.
Official North Korean Art
Socialist Realism……pretty as a picture???
NOT SO PRETTY
Soviet Union, Stalin's regime
(1924-53): 20 million DEAD.
“As long as art is the beauty
parlor of civilizati...
Alex Schaefer
http://alexanderschaefer.blogspot.com/
Francisco Goya, The Disasters of War.
This print was not really meant to “hang” over the couch….
The Buddhas of Bamiyan were two 6th century monumental statues of standing buddhas
carved into the side of a cliff in cent...
ART CHANGES CULTURE
“Degenerate Art”
• BAD • GOOD
The Nazi’s conflated Modernist art with mental and physical retardation.
BEGIN
Europe in the ‘Dark Ages”
66
67
68
70
71
72
DONATELLO, David, late 1440–1460. Bronze, 5’ 2 1/4” high. Museo
Nazionale del Bargello, Florence.
73
SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”.
Galleria degli Uffizi, Flor...
74
MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca.
1424–1427. Fresco, 21’ 10’ 5/8” x 10’ 4 3/4”.
75
PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome,
Italy, 1481–1483. Fr...
RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy,
1509–1511. Fresco, 19’ x 27’....
77
LUCAS CRANACH THE ELDER, Allegory of Law and Grace, ca. 1530. Woodcut, 10 5/8” x 1’ 3/4”. British
Museum, London.
78
GIANLORENZO BERNINI, David, 1623. Marble,
5’ 7” high. Galleria Borghese, Rome.
79
GIANLORENZO BERNINI, Ecstasy of Saint
Teresa, Cornaro Chapel, Santa Maria della
Vittoria, Rome, Italy, 1645–1652. Marbl...
80
CARAVAGGIO, Calling of Saint Matthew, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”. Contarelli
Chapel, San Luigi dei F...
TITIAN, Venus of Urbino, 1538. Oil on canvas, 3’ 11” x 5’ 5”. Galleria degli Uffizi, Florence. 81
82
83
PETER PAUL RUBENS, Consequences of War, 1638–1639. Oil on canvas, 6’ 9” x 11’ 3 7/8”. Palazzo
Pitti, Florence..
84
JAN VAN EYCK, Man in a Red
Turban, 1433. Oil on wood, 1’ 1 1/8” X
10 1/4". National Gallery, London.
85
REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”.
Mauritshuis, The Hague.
87
PIETER CLAESZ, Vanitas Still Life, 1630s. Oil on panel, 1’ 2” x 1’ 11 1/2”. Germanisches
Nationalmuseum, Nuremberg.
89JEAN-BAPTISTE GREUZE, Village Bride, 1761.
90
JACQUES-LOUIS DAVID, Oath of the Horatii, 1784.
Henry Fuseli, THE SHEPHERDS DREAM, 1793.
THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819.
“
97JEAN-FRANÇOIS MILLET, The Gleaners, 1857.
98
ÉDOUARD MANET, Le Déjeuner sur l’Herbe (Luncheon on the Grass), 1863.
99
ÉDOUARD MANET, Olympia, 1863.
100
THOMAS EAKINS, The Gross
Clinic, 1875.
102JOHN EVERETT MILLAIS, Ophelia.
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
Introduction to Art History
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  • Romantic transcendental landscape not experienced but knowable; philosophy independent of human experience of phenomena but within the range of knowledgeHis work Demands silence appropriate for sacred placesWhat are all the signs that lead to death? Bare treed, dark shaded forest, sundown, dark sky, casket, gothic ruins, old cemetery, tilted cross,
  • Introduction to Art History

    1. 1. Introduction to Art History
    2. 2. 4 CLARA PEETERS, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1’ 7 3/4” x 2’ 1 1/4”. Museo del Prado, Madrid.
    3. 3. 5 JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670. Oil on canvas, 1’ 10” x 2’ 1”. Mauritshuis, The Hague.
    4. 4. Taste
    5. 5. Taste Taste as an aesthetic, sociological, economic and anthropological concept refers to cultural patterns of choice and preference regarding aesthetic judgments.
    6. 6. What determines aesthetic judgements?
    7. 7. What gives us certain tastes?
    8. 8. Is it really just a function of our “ingroup” bias?
    9. 9. And why should we even care about things we don’t like ?
    10. 10. Well, for one…..because art exists for more than one subgroup or individual….
    11. 11. Art is part of our Public (shared) Experience
    12. 12. ART is reflective of the HUMAN EXPERIENCE…good and bad. Edvard Munch, “The Scream” 1893, National Gallery, Oslo Norway.
    13. 13. Art Criticism
    14. 14. Liberal Arts In classical antiquity, the "liberal arts" denoted the education worthy of a free person (Latin: liber, "free"). The freemen, mostly concerned about their rights and obligations as citizens, received a non-specialized, non- vocational, liberal arts education that produced well-rounded citizens aware of their place in society. Socrates and Aristotle emphasized the importance of individualism, impressing upon their students the duty of man to form his own opinions through reason rather than indoctrination. A slave market in Ancient Greece--
    15. 15. Liberal Arts vs. Dogma and Authority The American Association for the Advancement of Science describes a liberal education in this way: "Ideally, a liberal education produces persons who are open-minded and free from provincialism, dogma, preconception, and ideology; conscious of their opinions and judgments; reflective of their actions; and aware of their place in the social and natural worlds.” Liberally educated people are skeptical of their own traditions; they are trained to think for themselves rather than defer to authority.
    16. 16. ART is not just for interior design and we are not just “CONSUMERS”!
    17. 17. …..and this is why Museums and Galleries are so important. ITS GOOD TO GET OUT OF THE HOUSE and AWAY FROM THE MARKETERS!!!
    18. 18. • ART HISTORY IS NOT ABOUT “TASTE”
    19. 19. GENERAL EDUCATION PHILOSOPHY • The General Education program at Palm Beach State College prepares the students for lifelong intellectual pursuit and responsible participation in a complex global society through a core curriculum that incorporates values, shapes attitudes and offers students a depth and breadth of learning that transcends the content of any one specific discipline.
    20. 20. • "Most of the claims of such broad-based shortages in the U.S. STEM work force come from employers of STEM personnel and from their lobbyists and trade associations," says Michael Teitelbaum, a Wertheim Fellow in science policy at Harvard University and a senior adviser at the Alfred P. Sloan Foundation. "Such claims have convinced some politicians and journalists, who echo them."
    21. 21. ART IS POWERFUL The reason art can please, is also because it can displease…..
    22. 22. ART IS POWERFUL …. it can alternately challenge or reinforce the value system of any given culture. It is one of many place where a peoples discovers who they wish to be….
    23. 23. EGYPT Menkaure and Queen Kamerernebty Old Kingdom, Ancient Egypt 4th Dynasty 2548- 2530 BCE Egyptians Valued STABILITY….. It’s civilization lasted roughly 2500-3000 years.
    24. 24. ART and BEAUTY Art should comfort the disturbed and disturb the comfortable! It has MANY purposes.
    25. 25. Official North Korean Art
    26. 26. Socialist Realism……pretty as a picture???
    27. 27. NOT SO PRETTY Soviet Union, Stalin's regime (1924-53): 20 million DEAD. “As long as art is the beauty parlor of civilization, neither art nor civilization is secure.” -John Dewey
    28. 28. Alex Schaefer http://alexanderschaefer.blogspot.com/
    29. 29. Francisco Goya, The Disasters of War.
    30. 30. This print was not really meant to “hang” over the couch….
    31. 31. The Buddhas of Bamiyan were two 6th century monumental statues of standing buddhas carved into the side of a cliff in central Afghanistan. They were intentionally destroyed in 2001 by the Taliban, on orders from leader Mullah Mohammed Omar, after the Taliban government declared that they were "idols".
    32. 32. ART CHANGES CULTURE
    33. 33. “Degenerate Art”
    34. 34. • BAD • GOOD
    35. 35. The Nazi’s conflated Modernist art with mental and physical retardation.
    36. 36. BEGIN Europe in the ‘Dark Ages” 66
    37. 37. 67
    38. 38. 68
    39. 39. 70
    40. 40. 71
    41. 41. 72 DONATELLO, David, late 1440–1460. Bronze, 5’ 2 1/4” high. Museo Nazionale del Bargello, Florence.
    42. 42. 73 SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli Uffizi, Florence.
    43. 43. 74 MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1424–1427. Fresco, 21’ 10’ 5/8” x 10’ 4 3/4”.
    44. 44. 75 PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.
    45. 45. RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, 19’ x 27’. 76
    46. 46. 77 LUCAS CRANACH THE ELDER, Allegory of Law and Grace, ca. 1530. Woodcut, 10 5/8” x 1’ 3/4”. British Museum, London.
    47. 47. 78 GIANLORENZO BERNINI, David, 1623. Marble, 5’ 7” high. Galleria Borghese, Rome.
    48. 48. 79 GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble, height of group 11’ 6”.
    49. 49. 80 CARAVAGGIO, Calling of Saint Matthew, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”. Contarelli Chapel, San Luigi dei Francesi, Rome
    50. 50. TITIAN, Venus of Urbino, 1538. Oil on canvas, 3’ 11” x 5’ 5”. Galleria degli Uffizi, Florence. 81
    51. 51. 82
    52. 52. 83 PETER PAUL RUBENS, Consequences of War, 1638–1639. Oil on canvas, 6’ 9” x 11’ 3 7/8”. Palazzo Pitti, Florence..
    53. 53. 84 JAN VAN EYCK, Man in a Red Turban, 1433. Oil on wood, 1’ 1 1/8” X 10 1/4". National Gallery, London.
    54. 54. 85 REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”. Mauritshuis, The Hague.
    55. 55. 87 PIETER CLAESZ, Vanitas Still Life, 1630s. Oil on panel, 1’ 2” x 1’ 11 1/2”. Germanisches Nationalmuseum, Nuremberg.
    56. 56. 89JEAN-BAPTISTE GREUZE, Village Bride, 1761.
    57. 57. 90 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784.
    58. 58. Henry Fuseli, THE SHEPHERDS DREAM, 1793.
    59. 59. THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819.
    60. 60.
    61. 61. 97JEAN-FRANÇOIS MILLET, The Gleaners, 1857.
    62. 62. 98 ÉDOUARD MANET, Le Déjeuner sur l’Herbe (Luncheon on the Grass), 1863.
    63. 63. 99 ÉDOUARD MANET, Olympia, 1863.
    64. 64. 100 THOMAS EAKINS, The Gross Clinic, 1875.
    65. 65. 102JOHN EVERETT MILLAIS, Ophelia.
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