this was uploaded for the sake of downloading a particular slide presentation

1. Role of managers,
curators, buyers, and art
dealers in the art world

2. ART MANAGERS
 An art manager oversees art projects that appear in
different platforms/media and decides how to present
them to the target audience.
 Art managers also perform research, analysis of target
markets, and consider artistic requirements of clients.
 They can also hire, train, and supervise artists.

3. ART CURATORS
 In the art world, a curator is someone who selects and
often interprets different works of art.
 Curators are also often responsible for writing labels,
catalog essays, and other content supporting art
exhibitions.
 Art curators have an eye for a variety of art forms and a
passion for staging artwork in a way that creates interest
in the exhibition space.

4. ART CURATORS MAY ALSO PERFORM THE FOLLOWING:
 Manage collections by recording and cataloging artworks in
collection
 Research to document identification and authentication
 Develop, plan, and execute exhibitions
 Plan presentation and installation of artwork & objects
 Create labels and interpretative materials
 Train docents and other museum staff
 Publish research and information to journals, catalogs, or books.
 Have updated info about the art market and collections they
manage

5. ART DEALERS
 Art dealers can be a person or a company that buys and
sells works of art or acts as intermediary between buyers
and sellers.
 In contemporary art, they seek out artists to represent,
and build relationships with collectors and museums
whose interests match the work of the represented artist.
 Some dealers anticipate market trends and some
influence the taste of the market.

6. BUYERS AND SELLERS
 Attending creative service status meetings, and work in progress
reviews, and reviewing concepts to anticipate execution requirements.
 Sourcing suppliers – liaising with existing agency suppliers and sourcing third
parties for the purchase of e.g. static imagery. Making supplier, casting and
image recommendations and managing internal and client sign offs. Leading
all conversations with external suppliers of moving or static images.
 Managing the art buying timings – checking the suppliers, creative team and
client availability for production and approvals, generating timings and
monitoring progress
 Negotiating rates and rights, generating internal estimates and purchase
orders, monitoring budget utilisation to ensure profitability

7. VIEWING THE IMAGE
TYPES OF PLANE

8. What are planes?
 Planes happen when forms turn. Forms that belong to the
same plane share similar values. Keeping values together
in a plane is how an artist creates dimension on a flat
surface.

9. THE PLANES

10. The Third of May 1808 by FRANCISCO DE GOYA
Oil on Canvas, 266 x 345 cm
(1814) Museo del Prado, Madrid, Spain

11. BASIC SEMIOTIC PLANE
 study of signs, elements, technical, and physical aspects of work
 Visual Elements
 Choice of medium and technique
– material and style
 Format of work
– symbolic elements, figurative representations
- shape of work
 Physical Properties and marks of the work
– significations of the work (importance/relevance)

12. The Third of May 1808 by FRANCISCO DE GOYA
Oil on Canvas, 266 x 345 cm
(1814) Museo del Prado, Madrid, Spain

13. Description
 When: The Third of May 1808
 What time: Early hours of the morning
 What: uprising
 Description:
two masses of men: (1) one a rigidly poised firing squad, (2)
disorganized group of captives held at gun point.
 How:
Executioners and victims face each other across a narrow space
 Analysis
Contrast of the soldiers' attitudes and the steely line of their rifles,
with the crumbling irregularity of their target.

14.  Symbol:
A square lantern situated on the ground between the two groups
 Meaning:
dramatic
The brightest illumination falls on the huddled victims to the left, whose
numbers include a monk or friar in prayer.
 Position: right and center
 condemned figures stand next in line to be shot.
 central figure is the brilliantly lit man kneeling
his arms flung wide in either appeal or defiance. (surrender)
yellow and white clothing repeats the colors of the lantern.
plain white shirt and sun-burnt face show he is a simple laborer.
About the painting presented earlier

15. ICONIC PLANE
 Signifier-signified relationship
 Particular features, aspects, and qualities of the image
 Includes the choice of subject
-(socio-political implications)
 Position of figures
 Presentation of the image
-(frontal, three-fourths, etc.)
 Style of figuration
 Proportion of the body
 deals with the image itself

16. 2 Parts of a Sign
 Signifier - are the physical forms of a sign, such as a sound, word
or image that creates a communication.
 Signified - it is the concept that a signifier refers to.
Examples:

17. 3 Types of Signifier:
1. Signifier as Icon
– icons bears a physical resemblance to what is being represented
2. Signifier as Symbol
– symbols are at the opposite end from icons, the connection between
signifier and signified in symbols is completely arbitrary and must be culturally
learned.
3. Signifier as Index
– An index describes the connection between signifier and signified. With an
index, the signifier cannot exist without the presence of the signified. An index
is a sign that shows evidence of the concept or object being represented.

19. The Third of May 1808 by FRANCISCO DE GOYA
Oil on Canvas, 266 x 345 cm
(1814) Museo del Prado, Madrid, Spain

20. About the painting presented earlier
 the man with raised arms
-compared to a crucified Christ.
-similar pose in Juan Luna’s Spoliarium, and Picasso’s
Guernica.
 figure displays stigmata-like marks on his right hand
 center of the canvas
-traditional attribute of the Roman soldiers who arrested
Christ in the garden.

21. CONTEXTUAL PLANE
 Full meaning of the work (human and social implications)
-Relationship of art and society
-Complex such as – concepts, values, emotions, attitude,
atmosphere, sensory experience
 Personal and social circumstance of its production.
-It contains allusions to personal or public events,
conditions, stages, as well as influences

22. CONTEXTUAL PLANE
1. HISTORY
- When was the text written?
- Where was the text written?
2. AUTHOR
- Who made the artwork?
- Why did the author make the artwork?
- Which is the author’s target audience?
3. INFLUENCE
- What are some political, cultural or social factors that could have affected
the author?
- What influenced the author to create this artwork?
4. REACTION
- Does the text prompt readers to a certain action?
- What does the reader feel when encountering the artwork?

23. About the painting presented earlier
 it shows the progress of time
 death presents a conclusive episode, imbued with the virtue of heroism.
 It presents a mechanical formalization of murder.
-the corpse of a man, splayed on the ground in the lower left portion of the work.
 disfigured head and body render resurrection impossible.
 The painting can not be described as pleasing
 colors are restricted to earth tones and black, punctuated by bright flashes of white
and the red blood of the victims.
 quality of the pigment foreshadows Goya's later works: a rough solution producing
a matte, sandy finish
 Finally, there is no attempt by the artist to soften the subject's brutality through
technical skill.

24. AXIOLOGICAL/EVALUATIVE PLANE
 This plane is concerned with analyzing the values of the
artwork.
 It evaluates the intellectual/emotional contents of the art.

25. The Third of May 1808 by FRANCISCO DE GOYA
Oil on Canvas, 266 x 345 cm
(1814) Museo del Prado, Madrid, Spain

26. About the painting presented earlier
 The painting is Goya’s way of criticizing nations that wage
war on one another.
 It also wants to convey to the viewers that violence exists
between human beings.
 The work portrays man’s inhumanity to man and the sacrifice
of individuals who dedicate themselves for the greater good.

27. BRIEF HISTORY OF ART
ART IN WESTERN COUNTRIES

28. Western Countries
 France
 Germany
 Iceland
 Denmark
 Belgium
 Spain
 United Kingdom
 Austria
 Italy
 Norway
 Netherlands
 Luxembourg
 Portugal
 Finland
 Canada
 Switzerland
 Sweden
 United States
 Australia
 Andorra
 Monaco
 Brazil
 Hungary
 Liechtenstein

29. Prehistoric (40,000 – 4000 B.C.)
 The Neolithic revolution is when our ancestors learned to farm and domesticate animals,
allowing them to evolve from a nomadic lifestyle to permanent settlements. This let them
build cities, civilizations and eventually art.
 The oldest cave paintings known are about 40,800 years old. Anthropologists believe that
Neanderthals made some of the earliest images, usually depicting themselves as stick figures
and animals
Aurochs on a cave painting
in Lascaux, France
Pseudodon shell DUB1006-fL with the earliest known geometric
engravings, supposedly, made by Homo erectus; ca. 500,000 BP;
from Trinil (Java); Naturalis Biodiversity Center (Netherlands).

30. Ancient (30,000 B.C. – A.D. 400)
 Ancient Egypt, ancient Greece, the Etruscans, and the Romans were some of the first to
create the earliest naturalistic images of human beings. Realistic sculptures and busts
became one of the most praised forms of artwork of the time. Most popularly, out of this
period came the Ancient Greek sculpture of Zeus or Poseidon.
Marble portrait of the
emperor Augustus ca. A.D.
14–37
Mummy Mask
A.D. 60–70

31. Middle Ages (c. 400 C.E. to c. 1400 C.E.)
 Art in the Middle Ages was restricted to the teachings of the Church, with a heavy focus on
literature. Paintings during this time were minimal, with portrait paintings being incredibly
rare. Religious or Christian art typically consisted of illuminated manuscripts, mosaics and
fresco paintings and all featured mostly dull and muted colors.
St. Andrew, wall painting in the presbytery
of Santa Maria Antiqua, Rome, 705–707.
Image: Alinari/Art Resource, New York
Byzantine monumental
Church mosaics are one of
the great achievements of
medieval art. These are
from Monreale in Sicily from
the late 12th century.

32. Renaissance (c. 1400 to 1600)
 Known as the rebirth of art and culture in ancient Greece and Rome, the Renaissance period
saw an explosion in the appreciation of art, music and theater. It was also during this time
that the printing press was invented, which made books more widely available and increased
the literacy rates in Europe unlike ever before.
The Tribute Money, fresco by Masaccio, 1425; in the
Brancacci Chapel, Santa Maria del Carmine, Florence,
Italy.
Image: Scala/Art Resource, New York
The Annunciation, fresco by Fra Angelico, 1438–45; in
the Museum of San Marco, Florence.
Image: SCALA/Art Resource, New York

33. Baroque (1600-1750)
 This period yielded ornate, over-the-top visual arts and architecture. It was characterized by
grandeur and richness, punctuated by an interest in broadening human intellect and global
discovery.
 Baroque paintings were characterized by drama, as seen in the iconic works of Italian painter
Caravaggio and Dutch painter Rembrandt.
The Deposition of Christ, oil on canvas by Caravaggio, 1602–04;
in the Pinacoteca, Vatican Museums, Vatican City.
Image: SCALA/Art Resource, New York
Self-Portrait Etching at a Window, etching (drypoint and burin in black on
ivory laid paper) by Rembrandt, 1648.
Image: The Art Institute of Chicago, Amanda S. Johnson and Marion J.
Livingston Endowment and Clarence Buckingham Collection, reference no.
2004.88 (CC0)

34. Neoclassicism (1750-1850)
 As its name suggests, this period drew upon elements from classical antiquity. Archeological
ruins of ancient Athens and Naples that were discovered at the time reignited a passion for
all things past, and recreate works of ancient art.
 Neoclassical artists focused on classical elements and idealism.
Oath of the Horatii, oil on canvas by Jacques-Louis
David, 1784; in the Louvre, Paris.
Image: Giraudon/Art Resource, New York
Pity, colour print finished in pen and watercolour by
William Blake, 1795; in the Tate Gallery, London.
Tate Gallery, London/Art Resource, New York

35. Romanticism (1780-1850)
 This period embodies a broad range of disciplines, from painting to music to literature. The
ideals present in these art forms reject order, harmony, and rationality.
 Artworks in this period emphasizes the individual, imagination, nature, and emotions.
 Prominent Romantic painters include Henry Fuseli and William Blake.
The Nightmare by Henry Fuseli (1781)
The Ancient of Days by William Blake
(1794)

36. Modern (after c. 1800)
 Modern artists experimented with new ways of seeing and with fresh ideas about the nature
of materials and function of art. Artists shifted away from traditional techniques and themes
and moved toward more abstract pieces. During the late modern era, technology and art
fused.
Jean-François Millet, The Gleaners, 1857 Jeff Koons, Michael Jackson and Bubbles,
1988