This document summarizes a presentation on representations of physical disability in medieval manuscripts. It discusses how disabled individuals were depicted in the margins of Gothic manuscripts from the 13th-14th centuries in England, Flanders, and France. The presentation analyzes how these marginal depictions revealed the integration of disabled people into medieval social fabric and shed light on how and why they were included visually. Depictions showed disabled people as petitioners receiving miracles or alms, reinforcing social hierarchies, or in curiosities with no narrative connection. Margins expressed attitudes toward disability and diversity as part of the medieval reading experience.
This document discusses the relationship between art and various aspects of culture and society from the 20th century to today. It covers how art expresses and comments on life, religion, politics, economics, technology and geography. Artists have portrayed daily life, religious themes, historical events and folk beliefs. The role of art has evolved with advances in areas like photography, film and digital media. Both traditional and modern art forms continue to reflect the times and influence society.
The representation of the human figure in art has changed throughout history based on evolving human needs and artistic expression. Early figures served communication and religious purposes, while later portraits captured living images. After photography, figure art became highly creative and expressive. Throughout, figures have been depicted through drawings, paintings, and sculpture, with sculpture achieving realism before other media.
The document provides an overview of the history of arts from prehistoric to Neolithic periods.
- During the Paleolithic period (Old Stone Age), prehistoric art first emerged, including cave paintings depicting animals. Sculptures from this period include the Venus figurines.
- The Mesolithic period saw the gradual domestication of plants and animals and formation of settled communities.
- In the Neolithic period (New Stone Age), arts emphasized goddesses and female figures. Pottery became more decorated. Villages had stone furniture and paintings on walls. Agriculture and polished stone tools were developed.
Art Timeline: Prehistoric to ContemporaryAngelaNichole
The document provides an overview of art history from prehistoric times to contemporary art in 3 sentence summaries of each era:
1) The Paleolithic era began around 2 million years ago with the first stone tools and included cave paintings using minerals and plants for color; the Mesolithic saw new stone working techniques and small statuettes; and the Neolithic introduced agriculture and permanent villages along with pottery and megalithic structures like Stonehenge.
2) Greek art from 800BC to 200AD had a lasting influence on Western civilization with its emphasis on rational order and compositions depicting the human form, while Roman art from 120BC to 400AD was strongly influenced by the Etruscans and Greeks but depicted
This document provides an overview of the history of art from prehistoric times through contemporary art. It begins with prehistoric cave paintings from the Stone Age and then discusses the art of early civilizations like Mesopotamia, Egypt, Greece, and Rome. Key periods and styles of art discussed include Mesopotamian art from 5000-2000 BC, Egyptian art from 2700-1100 BC divided into the Old, Middle, and New Kingdoms, Greek sculpture and culture from around 2000 BC, Roman art, Medieval art, Renaissance art beginning in Italy in the early 15th century, Baroque art, Neoclassicism, Romanticism, and contemporary art. The document examines the major developments and influences in art
The document discusses the history of animals depicted in art from prehistoric cave paintings in Spain dated to 17,000 years ago to modern day. Some key points made include that early cave paintings depicted important food sources like bulls, animals were later used in Egyptian art and medieval manuscripts as symbols, and by the Renaissance period artists strived for realistic animal depictions which continued to evolve over time. Animals in art have served to represent cultures and beliefs while appreciating the beauty and nature of different creatures.
Artists have depicted animals in art since prehistoric times, as seen in cave paintings of animals hunted for food. Ancient Egyptians represented gods with animal heads. Throughout history, animals have symbolized humanity's connection with nature and been featured in scenes of hunting and daily life. Albrecht Durer, George Stubbs, Franz Marc, and Pablo Picasso were influential artists who explored the artistic representation of animals in their work.
This document discusses the relationship between art and religion through history. It notes that art has often been used as a form of propaganda by religions to convey beliefs and stories. Nearly all early art had roots in religion, as religions like Christianity, Buddhism, and others used art forms like paintings, sculptures, and architecture to spread their messages. The document provides several examples of famous religious artworks and how they depict important religious figures or stories and were used to influence people's understanding of those religions.
This document discusses the relationship between art and various aspects of culture and society from the 20th century to today. It covers how art expresses and comments on life, religion, politics, economics, technology and geography. Artists have portrayed daily life, religious themes, historical events and folk beliefs. The role of art has evolved with advances in areas like photography, film and digital media. Both traditional and modern art forms continue to reflect the times and influence society.
The representation of the human figure in art has changed throughout history based on evolving human needs and artistic expression. Early figures served communication and religious purposes, while later portraits captured living images. After photography, figure art became highly creative and expressive. Throughout, figures have been depicted through drawings, paintings, and sculpture, with sculpture achieving realism before other media.
The document provides an overview of the history of arts from prehistoric to Neolithic periods.
- During the Paleolithic period (Old Stone Age), prehistoric art first emerged, including cave paintings depicting animals. Sculptures from this period include the Venus figurines.
- The Mesolithic period saw the gradual domestication of plants and animals and formation of settled communities.
- In the Neolithic period (New Stone Age), arts emphasized goddesses and female figures. Pottery became more decorated. Villages had stone furniture and paintings on walls. Agriculture and polished stone tools were developed.
Art Timeline: Prehistoric to ContemporaryAngelaNichole
The document provides an overview of art history from prehistoric times to contemporary art in 3 sentence summaries of each era:
1) The Paleolithic era began around 2 million years ago with the first stone tools and included cave paintings using minerals and plants for color; the Mesolithic saw new stone working techniques and small statuettes; and the Neolithic introduced agriculture and permanent villages along with pottery and megalithic structures like Stonehenge.
2) Greek art from 800BC to 200AD had a lasting influence on Western civilization with its emphasis on rational order and compositions depicting the human form, while Roman art from 120BC to 400AD was strongly influenced by the Etruscans and Greeks but depicted
This document provides an overview of the history of art from prehistoric times through contemporary art. It begins with prehistoric cave paintings from the Stone Age and then discusses the art of early civilizations like Mesopotamia, Egypt, Greece, and Rome. Key periods and styles of art discussed include Mesopotamian art from 5000-2000 BC, Egyptian art from 2700-1100 BC divided into the Old, Middle, and New Kingdoms, Greek sculpture and culture from around 2000 BC, Roman art, Medieval art, Renaissance art beginning in Italy in the early 15th century, Baroque art, Neoclassicism, Romanticism, and contemporary art. The document examines the major developments and influences in art
The document discusses the history of animals depicted in art from prehistoric cave paintings in Spain dated to 17,000 years ago to modern day. Some key points made include that early cave paintings depicted important food sources like bulls, animals were later used in Egyptian art and medieval manuscripts as symbols, and by the Renaissance period artists strived for realistic animal depictions which continued to evolve over time. Animals in art have served to represent cultures and beliefs while appreciating the beauty and nature of different creatures.
Artists have depicted animals in art since prehistoric times, as seen in cave paintings of animals hunted for food. Ancient Egyptians represented gods with animal heads. Throughout history, animals have symbolized humanity's connection with nature and been featured in scenes of hunting and daily life. Albrecht Durer, George Stubbs, Franz Marc, and Pablo Picasso were influential artists who explored the artistic representation of animals in their work.
This document discusses the relationship between art and religion through history. It notes that art has often been used as a form of propaganda by religions to convey beliefs and stories. Nearly all early art had roots in religion, as religions like Christianity, Buddhism, and others used art forms like paintings, sculptures, and architecture to spread their messages. The document provides several examples of famous religious artworks and how they depict important religious figures or stories and were used to influence people's understanding of those religions.
The document summarizes Natalie Howes and Beth Yates' visit to the National Gallery where they looked at the portrayal of animals in art throughout history. They began by examining a painting of a rhinoceros exhibition from 1751 and noticed that horses and dogs were most commonly depicted. Horses were usually shown as working animals or beautiful creatures, while dogs were portrayed as family members. The document concludes by discussing sketches the students created of a painting by Anthony van Dyck showing a horse as a beautiful working animal.
The history of art usually refers to the history of visual arts such as painting, sculpture, and architecture. It encompasses the theory of visual arts as well. The history of art attempts an objective survey of art throughout human history, classifying cultures and periods and noting their distinguishing features and influences. Some of the major periods and styles discussed in the document include prehistoric art, ancient Egyptian art, Byzantine art, Renaissance art, Baroque and Rococo art, as well as modern and realist art.
Social realism emerged as an art movement in the Philippines in the 1970s-80s as a reaction to the authoritarian Marcos regime. The Kaisahan group coined the term "social realism" to describe their works depicting everyday struggles and promoting social change. They aimed to raise social consciousness through pieces addressing issues like injustice, oppression, and foreign domination. Popular forms included paintings, prints, comics, and portable murals used at protests. Themes centered on agrarian problems, exploitation, and the vision of a new social order.
The document provides information about different periods and styles of Western classical art traditions, including Prehistoric, Ancient Egyptian, Greek, Roman, Byzantine, Romanesque, and Gothic art. It discusses characteristics of paintings, sculptures, and architecture from each period. Key highlights include cave paintings from the Prehistoric era, Egyptian tomb paintings depicting the afterlife, Greek vase painting styles, Roman frescoes and mosaics, and Byzantine and Romanesque religious artwork. The document is intended to teach learners about the artistic elements, techniques, and influences of different historical periods in Western art history.
The document summarizes the history of the Jesuit order and some of its key figures such as Ignatius of Loyola and Francis Xavier who helped establish and spread the order. It then focuses on the Jesuit missionary Nicolas Point who in the 1840s accompanied Pierre-Jean de Smet west and created drawings documenting Native American life, becoming an important visual record of cultures like the Flatheads and Coeur d'Alenes. The document includes several of Point's illustrations.
The document provides a timeline and overview of major art periods from prehistoric times to contemporary art. It summarizes that prehistoric art was created early in history. Greek art during 800BC-200AD featured the perfectly proportionate body and symmetry. Roman art from 120BC-400AD often depicted heroic figures and was very practical. Medieval art from 300-1200AD covered a large spectrum of diverse individual styles. Renaissance art from 1400-1500CE followed the Middle Ages and featured classical, perspective painting. Baroque art in the 1600s was known for exaggerated motion, exuberance and grandeur. Eighteenth century art is often referred to as Rococo and was thought to be frivolous. Nineteenth century art is
Art can be defined as objects or events that evoke aesthetic appreciation or are of more than ordinary significance. It involves qualities of beauty, creativity, expression, and meaning. While Western definitions often focus on "fine arts," anthropology takes a broader view of art as any creative cultural expression, including folk arts. Art is deeply embedded in its cultural context and reflects societal values and traditions while also being a site for individual expression. It plays important roles in cultural transmission, identity formation, and continuity amid change over time.
Overview of Western Art and Non Western Art Part 1kraruu
This document provides an overview of Western art history and some non-Western art traditions. It discusses the major periods and styles from prehistoric art through medieval art in Europe and the Near East. Key points covered include Stone Age cave paintings, Ancient Egyptian and Mesopotamian art and architecture, Greek temples and sculpture following set proportions, Roman adaptations of Greek styles along with innovative uses of concrete, Byzantine mosaics and architectural fusion styles, and Gothic cathedrals employing pointed arches, vaults, and stained glass designs.
The document provides an overview of the origins and early development of art from the time humans began moving out of Africa around 1 million years ago. It discusses how early humans created functional tools and objects like spearheads before beginning to represent the human form and animal forms in artworks around 30,000 years ago. Examples are given of early sculptures like the Human with Feline Head and Venus of Willendorf that represented the human form. The development of animal representations and techniques like cave painting are also summarized.
This document discusses the relationship between art and religion. It provides definitions of religion from Clifford Geertz and James Livingston, noting that religion establishes moods and motivations through conceptions of existence. Art is seen as a universal form of communication that is used within religion through paintings, architecture, and stained glass windows. Several examples of religious art are presented from different time periods and cultures, showing how art depicts religious figures, stories, and symbols. The document analyzes how art has served religion historically by aiding worship and instruction. It discusses variations in depictions of divinity across religions and eras. Overall, the summary shows how art and religion are closely linked through visual representations of religious concepts, narratives, and ideals.
The document discusses the art and architecture of ancient Greece and Rome. It describes how Greek and Roman civilizations promoted objective standards of beauty through their art and architecture. It provides details on the development of Greek art over the Geometric, Archaic, Classical, and Hellenistic periods. Specific artworks like "Lacoon and His Sons" are discussed. The origins of Greek theater and drama are also summarized. Finally, it notes how Roman art fused Greek influences with their own emphasis on realism and strength in portrayals of human figures.
This document provides an overview of Western art from ancient times through the 19th century, as well as non-Western art and the purposes of art. It discusses Western artworks created in Europe, the Near East, Egypt, Greece, and later periods, as well as non-Western art from Asia, Africa and Australia. Additionally, it outlines the elements of art, principles of design, and purposes of art including ceremonial, narrative, functional, persuasive and artistic expression.
The document provides a history of art from prehistoric times to the Neolithic period, beginning around 2.5 million BCE. It describes early artworks like cave paintings from 30,000 BCE and sculptures like the Venus of Willendorf. Rock carvings, pottery, and architecture developed through the Lower Paleolithic, Middle Paleolithic, and Upper Paleolithic periods. During the Mesolithic period, ceramic art became more common. In the Neolithic, pottery and fixed structures like Skara Brae and Stonehenge emerged as new art forms.
Part 1 of the Basic Art History Course by Architect and Art History Writer Helena Lopes.
Introduction to art and art history
Prehistoric Art
Mesoponamian art
The document discusses the art and contributions of ancient civilizations including Egypt, Sumeria, Babylon, Greece, Rome, China, and India. It notes that Egyptian art represented their gods and pharaohs with simple lines, shapes, and flat colors. Sumerian contributions included pottery, jewelry, and developing the wheel and arch. Babylonian art utilized bricks and advanced copper working and gem cutting. Greek art developed pottery, sculpture, and architecture known for contrapposto posing. Roman art copied Greek styles and emphasized portraiture. Chinese bronzeware and silk paintings included the Terracotta Army. Indian sculptures began as small carvings and castings while paintings depicted Buddhist and universal stories through temple car
The changing functions of art through timerosabrito
During prehistoric times, art had magical and religious purposes like promoting hunting and transmitting rituals. In ancient Egypt and Mesopotamia, craft artists worked in temples and palaces under priest and noble control. In Greece, art was meant to be admired and served religious purposes, while artists had low social status. The Renaissance saw art commissioned by royal courts and the middle class for prestige and pleasure. By the 20th century, artists had more independence but were also influenced by commercialization and social tastes.
This document provides an overview of different art eras from prehistoric times to the contemporary era. It discusses some of the key characteristics of each era, including common art forms and examples of influential artists and works. The prehistoric era focused on cave paintings depicting animals. The Greeks made contributions to architecture, sculpture, and theater. Romans continued the Greek focus on architecture and their art was influenced by politics. The medieval era saw developments in cathedral architecture. The Renaissance was a period of rebirth and influential artists included da Vinci and Michelangelo. Baroque art spanned multiple media while the 18th century saw the rise of portrait painting and nationalism. Nature scenes grew popular in the 19th century. Modern art provoked thought and took
This document provides a brief history of sculpture from the Paleolithic period to modern times. It highlights important works such as the Löwenmensch statuette from 35,000 BCE, the Great Sphinx of Giza from 2500 BCE, Laocoön and His Sons from the Early Classical period, the Colossus of Constantine after Christianity became the official Roman religion, Gothic sculptures like the gargoyles of Notre Dame, Michelangelo's Pieta from the Renaissance, Auguste Rodin's The Thinker in the 19th century, and Pablo Picasso's Cubist sculptures in the early 20th century. It also discusses influential Filipino sculptors like Guillermo Tolentino and his Bonif
Art Appreciation introduction - A Calvert 2014Amy Calvert
The document discusses what art is and its various functions. It explains that art is fundamentally human and built into our neurophysiology. Art serves functions like interacting with the divine, expressing power and status, changing perceptions, expressing imagination, telling stories, commemorating events, and transforming spaces. Symbols and iconography in art are highly contextual and depend on the culture and time period. The document provides many examples of art from different eras and cultures to illustrate these points.
This document provides an overview of the history and evolution of figurative sculpture across different eras and cultures. It discusses key developments and influences in pre-historic, Greek, Gothic, Renaissance, modern Western, and Asian eras. Specific works are referenced that demonstrate dominant styles and concepts within each period, such as emphasis on philosophy in Greek sculpture, use of spirals in pieces like Venus de Milo, and emphasis on simplicity and posture in pieces like the Miroku Bosatsu statue from Japan. The document also contrasts Western and Eastern approaches to depicting the five natural elements. It examines the impact of African art on modern sculptors like Picasso and changing styles in the 20th century including Cubism.
This document discusses how art can be used to understand community traditions and history. It explains that landscapes in art reflect a community's geography and culture. Depictions of people at work and play provide insights into their economic and social structures. Portrait studies capture individual stories. Architecture, folk art, music, dance, and photography also document cultural practices. Museums and art education help preserve communities' artistic legacies for future generations.
Art History in Renaissance time. feautring Donatello, Leonardo, Michelangelo, Raphael, and Botiicelli
This is made for our class reporting,but my professor changed his mind, so maybe it would be of help to others if I share it.
The document summarizes Natalie Howes and Beth Yates' visit to the National Gallery where they looked at the portrayal of animals in art throughout history. They began by examining a painting of a rhinoceros exhibition from 1751 and noticed that horses and dogs were most commonly depicted. Horses were usually shown as working animals or beautiful creatures, while dogs were portrayed as family members. The document concludes by discussing sketches the students created of a painting by Anthony van Dyck showing a horse as a beautiful working animal.
The history of art usually refers to the history of visual arts such as painting, sculpture, and architecture. It encompasses the theory of visual arts as well. The history of art attempts an objective survey of art throughout human history, classifying cultures and periods and noting their distinguishing features and influences. Some of the major periods and styles discussed in the document include prehistoric art, ancient Egyptian art, Byzantine art, Renaissance art, Baroque and Rococo art, as well as modern and realist art.
Social realism emerged as an art movement in the Philippines in the 1970s-80s as a reaction to the authoritarian Marcos regime. The Kaisahan group coined the term "social realism" to describe their works depicting everyday struggles and promoting social change. They aimed to raise social consciousness through pieces addressing issues like injustice, oppression, and foreign domination. Popular forms included paintings, prints, comics, and portable murals used at protests. Themes centered on agrarian problems, exploitation, and the vision of a new social order.
The document provides information about different periods and styles of Western classical art traditions, including Prehistoric, Ancient Egyptian, Greek, Roman, Byzantine, Romanesque, and Gothic art. It discusses characteristics of paintings, sculptures, and architecture from each period. Key highlights include cave paintings from the Prehistoric era, Egyptian tomb paintings depicting the afterlife, Greek vase painting styles, Roman frescoes and mosaics, and Byzantine and Romanesque religious artwork. The document is intended to teach learners about the artistic elements, techniques, and influences of different historical periods in Western art history.
The document summarizes the history of the Jesuit order and some of its key figures such as Ignatius of Loyola and Francis Xavier who helped establish and spread the order. It then focuses on the Jesuit missionary Nicolas Point who in the 1840s accompanied Pierre-Jean de Smet west and created drawings documenting Native American life, becoming an important visual record of cultures like the Flatheads and Coeur d'Alenes. The document includes several of Point's illustrations.
The document provides a timeline and overview of major art periods from prehistoric times to contemporary art. It summarizes that prehistoric art was created early in history. Greek art during 800BC-200AD featured the perfectly proportionate body and symmetry. Roman art from 120BC-400AD often depicted heroic figures and was very practical. Medieval art from 300-1200AD covered a large spectrum of diverse individual styles. Renaissance art from 1400-1500CE followed the Middle Ages and featured classical, perspective painting. Baroque art in the 1600s was known for exaggerated motion, exuberance and grandeur. Eighteenth century art is often referred to as Rococo and was thought to be frivolous. Nineteenth century art is
Art can be defined as objects or events that evoke aesthetic appreciation or are of more than ordinary significance. It involves qualities of beauty, creativity, expression, and meaning. While Western definitions often focus on "fine arts," anthropology takes a broader view of art as any creative cultural expression, including folk arts. Art is deeply embedded in its cultural context and reflects societal values and traditions while also being a site for individual expression. It plays important roles in cultural transmission, identity formation, and continuity amid change over time.
Overview of Western Art and Non Western Art Part 1kraruu
This document provides an overview of Western art history and some non-Western art traditions. It discusses the major periods and styles from prehistoric art through medieval art in Europe and the Near East. Key points covered include Stone Age cave paintings, Ancient Egyptian and Mesopotamian art and architecture, Greek temples and sculpture following set proportions, Roman adaptations of Greek styles along with innovative uses of concrete, Byzantine mosaics and architectural fusion styles, and Gothic cathedrals employing pointed arches, vaults, and stained glass designs.
The document provides an overview of the origins and early development of art from the time humans began moving out of Africa around 1 million years ago. It discusses how early humans created functional tools and objects like spearheads before beginning to represent the human form and animal forms in artworks around 30,000 years ago. Examples are given of early sculptures like the Human with Feline Head and Venus of Willendorf that represented the human form. The development of animal representations and techniques like cave painting are also summarized.
This document discusses the relationship between art and religion. It provides definitions of religion from Clifford Geertz and James Livingston, noting that religion establishes moods and motivations through conceptions of existence. Art is seen as a universal form of communication that is used within religion through paintings, architecture, and stained glass windows. Several examples of religious art are presented from different time periods and cultures, showing how art depicts religious figures, stories, and symbols. The document analyzes how art has served religion historically by aiding worship and instruction. It discusses variations in depictions of divinity across religions and eras. Overall, the summary shows how art and religion are closely linked through visual representations of religious concepts, narratives, and ideals.
The document discusses the art and architecture of ancient Greece and Rome. It describes how Greek and Roman civilizations promoted objective standards of beauty through their art and architecture. It provides details on the development of Greek art over the Geometric, Archaic, Classical, and Hellenistic periods. Specific artworks like "Lacoon and His Sons" are discussed. The origins of Greek theater and drama are also summarized. Finally, it notes how Roman art fused Greek influences with their own emphasis on realism and strength in portrayals of human figures.
This document provides an overview of Western art from ancient times through the 19th century, as well as non-Western art and the purposes of art. It discusses Western artworks created in Europe, the Near East, Egypt, Greece, and later periods, as well as non-Western art from Asia, Africa and Australia. Additionally, it outlines the elements of art, principles of design, and purposes of art including ceremonial, narrative, functional, persuasive and artistic expression.
The document provides a history of art from prehistoric times to the Neolithic period, beginning around 2.5 million BCE. It describes early artworks like cave paintings from 30,000 BCE and sculptures like the Venus of Willendorf. Rock carvings, pottery, and architecture developed through the Lower Paleolithic, Middle Paleolithic, and Upper Paleolithic periods. During the Mesolithic period, ceramic art became more common. In the Neolithic, pottery and fixed structures like Skara Brae and Stonehenge emerged as new art forms.
Part 1 of the Basic Art History Course by Architect and Art History Writer Helena Lopes.
Introduction to art and art history
Prehistoric Art
Mesoponamian art
The document discusses the art and contributions of ancient civilizations including Egypt, Sumeria, Babylon, Greece, Rome, China, and India. It notes that Egyptian art represented their gods and pharaohs with simple lines, shapes, and flat colors. Sumerian contributions included pottery, jewelry, and developing the wheel and arch. Babylonian art utilized bricks and advanced copper working and gem cutting. Greek art developed pottery, sculpture, and architecture known for contrapposto posing. Roman art copied Greek styles and emphasized portraiture. Chinese bronzeware and silk paintings included the Terracotta Army. Indian sculptures began as small carvings and castings while paintings depicted Buddhist and universal stories through temple car
The changing functions of art through timerosabrito
During prehistoric times, art had magical and religious purposes like promoting hunting and transmitting rituals. In ancient Egypt and Mesopotamia, craft artists worked in temples and palaces under priest and noble control. In Greece, art was meant to be admired and served religious purposes, while artists had low social status. The Renaissance saw art commissioned by royal courts and the middle class for prestige and pleasure. By the 20th century, artists had more independence but were also influenced by commercialization and social tastes.
This document provides an overview of different art eras from prehistoric times to the contemporary era. It discusses some of the key characteristics of each era, including common art forms and examples of influential artists and works. The prehistoric era focused on cave paintings depicting animals. The Greeks made contributions to architecture, sculpture, and theater. Romans continued the Greek focus on architecture and their art was influenced by politics. The medieval era saw developments in cathedral architecture. The Renaissance was a period of rebirth and influential artists included da Vinci and Michelangelo. Baroque art spanned multiple media while the 18th century saw the rise of portrait painting and nationalism. Nature scenes grew popular in the 19th century. Modern art provoked thought and took
This document provides a brief history of sculpture from the Paleolithic period to modern times. It highlights important works such as the Löwenmensch statuette from 35,000 BCE, the Great Sphinx of Giza from 2500 BCE, Laocoön and His Sons from the Early Classical period, the Colossus of Constantine after Christianity became the official Roman religion, Gothic sculptures like the gargoyles of Notre Dame, Michelangelo's Pieta from the Renaissance, Auguste Rodin's The Thinker in the 19th century, and Pablo Picasso's Cubist sculptures in the early 20th century. It also discusses influential Filipino sculptors like Guillermo Tolentino and his Bonif
Art Appreciation introduction - A Calvert 2014Amy Calvert
The document discusses what art is and its various functions. It explains that art is fundamentally human and built into our neurophysiology. Art serves functions like interacting with the divine, expressing power and status, changing perceptions, expressing imagination, telling stories, commemorating events, and transforming spaces. Symbols and iconography in art are highly contextual and depend on the culture and time period. The document provides many examples of art from different eras and cultures to illustrate these points.
This document provides an overview of the history and evolution of figurative sculpture across different eras and cultures. It discusses key developments and influences in pre-historic, Greek, Gothic, Renaissance, modern Western, and Asian eras. Specific works are referenced that demonstrate dominant styles and concepts within each period, such as emphasis on philosophy in Greek sculpture, use of spirals in pieces like Venus de Milo, and emphasis on simplicity and posture in pieces like the Miroku Bosatsu statue from Japan. The document also contrasts Western and Eastern approaches to depicting the five natural elements. It examines the impact of African art on modern sculptors like Picasso and changing styles in the 20th century including Cubism.
This document discusses how art can be used to understand community traditions and history. It explains that landscapes in art reflect a community's geography and culture. Depictions of people at work and play provide insights into their economic and social structures. Portrait studies capture individual stories. Architecture, folk art, music, dance, and photography also document cultural practices. Museums and art education help preserve communities' artistic legacies for future generations.
Art History in Renaissance time. feautring Donatello, Leonardo, Michelangelo, Raphael, and Botiicelli
This is made for our class reporting,but my professor changed his mind, so maybe it would be of help to others if I share it.
Medieval Gothic Art spanned from the early to late periods between the 5th and 15th centuries. It was Christian art that symbolized the dominance of the Catholic church during this era in western civilization. Gothic art is further divided into three ages: early, high, and late Gothic. The primary purpose of Medieval art was to express Christianity, which provided a common bond across Europe. Most art originated in monasteries and churches that were the main patrons.
Compare And Contrast Medieval Art And Renaissance ArtBeth Johnson
Medieval art changed significantly from early to late periods. Early medieval art focused on status and identity through materials like gold. Manuscripts were costly artistic productions created by monks. Gothic art emerged as a dominant style in the late medieval period, characterized by elaborate church architecture. Art served religious and political purposes by communicating Christian messages to a largely illiterate audience. A Carolingian manuscript page from the 9th century depicts the Resurrection, emphasizing Christ's divinity through symbolic elements like his wounds and blessing gesture toward the emperor. Overall medieval art evolved in form and function over time but consistently aimed to convey religious and political meanings.
The document summarizes several artworks that explore themes of globalization and how cultures interact and influence each other globally. It discusses works by artists from different countries that incorporate both traditional and modern iconography from diverse cultures like Li Lihong's porcelain sculptures blending Chinese and Western motifs and Korakrit Arunanondchai's video art examining the merging of art and life in contemporary Thailand. The document examines how artists acknowledge and comment on cultural exchange in an increasingly interconnected world.
The document discusses how art changed during the Renaissance period compared to the Middle Ages. Some key differences include a shift from purely religious subjects to more secular scenes of daily life that aligned with the humanism movement. New art forms like sculptures, murals, drawings and paintings emerged, in addition to advances in architecture. The 10 characteristics of Renaissance art, like realistic portrayals of the human body, helped convey the humanist philosophy. Overall, the changes in art from the Middle Ages supported the growth of ideas during the Renaissance.
Based on the ratings of the exhibits, the total score is +6. Since the score is positive, the sources overall support the statement that "Life in the Renaissance was very different than life in the Middle Ages."
Life in the Renaissance was very different than life in the Middle Ages. Exhibit A, which describes changes in daily life like more luxuries and opportunities for non-nobles, received a +2 as strong evidence for how Renaissance life differed. Exhibit D, the personal testimony about increased population and variety of jobs, also received a +2 for providing specific examples of differences. Exhibit E, showing the stylistic changes between Madonna paintings from the periods, received a +1 for depicting artistic evolution.
While
The document discusses the cultural revolution known as the Renaissance that occurred between the 15th-16th centuries in Europe. It was sparked by factors like the Black Plague, the rise of wealthy merchants and Italian city-states, and increasing interactions between cultures. Notable artists from this period include Leonardo Da Vinci, Michelangelo, and Raphael. Universities proliferated and fields like science, philosophy and the humanities advanced. The cultural changes had impacts felt even today and helped establish foundations for the modern world.
The document provides an overview of the Middle Ages and its role in the beginning of the Renaissance. It divides the Middle Ages into three periods: Early, High, and Late. The Early Middle Ages saw a power vacuum following the fall of the Western Roman Empire. The High Middle Ages experienced rapid population growth. The Late Middle Ages began with economic troubles but also saw the beginnings of the Renaissance, as trade expanded and new technologies and ideas emerged that challenged the old order.
The document provides an overview of Western classical art traditions from prehistoric to Gothic periods. It discusses the objectives and content that will be covered in the online arts module, including analyzing elements and principles of art, identifying characteristics of different periods, and representative artworks. The module aims to cater to both learners with and without internet access during the COVID-19 pandemic.
The document summarizes several key causes of the Renaissance in Italy, including:
1. Artistic causes such as a shift from medieval to Renaissance styles that praised the human form and used perspective. This was influenced by humanism.
2. Intellectual causes like the printing press, reintroduction of Aristotle's ideas, universities, and patronage of families like the Medicis which spread ideas.
3. Political causes like the decline of Byzantium, rise of nation-states, and the Hundred Years' War which weakened feudal systems and strengthened monarchies.
1. The document discusses theories of representation in museums from the 19th century modernist model to challenges to that model.
2. It focuses on how museums construct narratives through the selection and grouping of objects on display and how this produces knowledge.
3. It analyzes how the meanings of objects like the Ghost Dance shirt in the Kelvingrove Museum collection changed over time as the narratives constructed around it changed in response to different cultural perspectives.
The document provides an overview of the Renaissance period in Italy, beginning in the 14th-15th centuries. It discusses key figures like Giotto and Vasari who helped establish a more realistic style of art. It examines the historical causes and cultural influences on the Renaissance, including developments in philosophy, literature, and the growing power of city-states like Florence. The Renaissance is framed as both a revival of classical antiquity as well as a culmination of medieval tendencies, influenced by developments in Christianity. Regional styles are also explored, such as the Byzantine influences in Venice.
Know the difference between Endodontics and Orthodontics.Gokuldas Hospital
Your smile is beautiful.
Let’s be honest. Maintaining that beautiful smile is not an easy task. It is more than brushing and flossing. Sometimes, you might encounter dental issues that need special dental care. These issues can range anywhere from misalignment of the jaw to pain in the root of teeth.
Osteoporosis - Definition , Evaluation and Management .pdfJim Jacob Roy
Osteoporosis is an increasing cause of morbidity among the elderly.
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1. Ninon Dubourg
Permeable Bodies in Medieval
and Early Modern Visual Culture
5-6 October
2018
Marginalisation on the Margins ?
Historical Perspectives on the Representations
of Physical Disability
in some Medieval Manuscript’s margins.
PhD Candidate
Paris 7 – Diderot University
2. Introduction
Margins
An organized space with planned marginalia ’s figures (J. Alexander, 2018)
Illustrators or directors choice to represent disabled people proves that :
1. Noble audience cares about the infirmus’s
representation in the manuscripts
2. Disabled people are highly involved
in medieval society
4. Introduction
SUBJECT: Gothics manuscripts from the XIII and XIV c. in England,
Flanders and France
1. Reveal the integration of disabled people in the social fabric
2. Shed a new light on the margins’ power to incorporate
their bodies in the visual culture.
RESEARCH: Particular circumstances of a manuscript’s production
(sponsor; recipient; illustrator; purpose)
OBJECTIVE: Enlighten how & why disabled people are depicted
in the manuscript to:
Hypothesis
5. I. Imago Christi
Disabled people are depicted with two patterns (Pestilli, 2017)
1. as petitioners for a miraculous healing
2. as receiving alms
They are visible in the margin’s bas-de-page:
1. as some very constructed playlets
2. with a very special meaning for the medieval audience
6. I. Imago Christi
Suffering Christ
First represented in hagiographics manuscripts.
Then, in the margins narratives vignettes during
the XIII and XIV c.
BNF, MS 10 484, F. 218V
Disabled images reflect:
● the belief in miracles
● the contemporary practices
of pilgrimage
7. I. Imago Christi
Suffering Christ
=> Their increased representation reflects:
● the growing importance of the Christian precept of Charity
as part of the Gregorian reform
● tropes for modeling laudable Christian behavior
8. I. Imago Christi
Social hierarchy
Royal 10, E IV, f. 261v
Royal 10, E IV, f. 262
Disabled people are represented as
poor beggars in order to:
● glorify the act of Charity
● maintains social hierarchy, as
between men and women,
poors and richs
9. I. Imago Christi
Social hierarchy
Royal 10, E IV, f. 220
These representations of disabled people communicate more about
the world of the elite viewers rather than the marginal subjects
=> Clearly promote the elite’s social role of Charity
in the medieval society
10. I. Imago Christi
Helpers
Bodleian, MS 264, f. 158v
In addition to their visible physical or sensory
impairment, the disabled appear well
surrounded by children, women and men
helping them to eat, walk and collect donations.
11. I. Imago Christi
Helpers
Royal 10, E IV, f. 79v
Royal 10 E IV f. 218v
Young people help them to
● receive alms by going to the
saintly locations (right top)
● Fulfill daily tasks,
like eating (right below)
13. I. Imago Christi
Guide dogs as children, seems to have been criticized
for their lack of reliability = Not safe in theory
But used in practice, as companions, and to perform while begging
Helpers
Bodleian, MS 264, f. 77vRoyal 10, E IV, f. 110v
=> These representations of daily life reveal a sort of
disabled’s integration in social fabric
14. II. Integration of diversity
Curiositates
Disabled people also populate the margins
with no connection to any border
=> margin's power (Caviness, 2001)
=> recapturing lost presence (Taylor, 1995)
So, they represent:
● relativization of social norms : mockery
(Fabry-Tehranchi, 2017)
● serious, pious and didactic purposes : charitable acts
(Gurevich, 1990)
Beinecke, MS 229, f. 180r
15. II. Integration of diversity
Curiositates
=> have a comic effect of ugliness and deformity, as a kind of hybridity
=> Prove the integration of infirmus in the society
Verdun, BM 107, f. 57
=> Show the role of visual images
in controlling people's lives
Beinecke,MS229,f.257v
16. II. Integration of diversity
Symbols
Several visible and characteristic attributes
to distinguish them from the Others:
● mobility aids
● body shape
=> disabled as a group, sharing the same symbolic elements:
● Signs of belonging
● social distinction markers
BNF,fr95,f.327
Bodleian, MS 264, f. 109r
17. Conclusion
=> The function of the marginalia in the visual culture is a mean to
recognize the Other and to find his place in the society
=> Marginalia are specula of medieval life:
worldview rather than real world (Stanton, 2001)
=> Margins reflect:
● a medieval world full of diversity
● the complexity of medieval disability
=> Margins are a part of the medieval reading experience
and a vector of expression and reception (Withe-LeGoff, 2017)
18. Ninon Dubourg
Permeable Bodies in Medieval
and Early Modern Visual Culture
5-6 October
2018
Thanks !
PhD Candidate
Paris 7 – Diderot University
19. Bibliography
Jonathan J. Alexander, « Preliminary marginal drawings in medieval manuscripts », in Xavier Barral i Altet (dir.),
Artistes, artisans et production artistique au Moyen Âge, tome 3: Fabrication et consommation del l’oeuvre , 1990,
p. 307 319.‑
Jonathan J. G. Alexander, Medieval illuminators and their methods of work, New Haven, Yale Uni. Press, 2018.
Jonathan J. G. Alexander, « Iconography and Ideology: Uncovering Social Meanings in Western Medieval Christian
Art », Studies in Iconography, 1993, vol. 15, p. 1 44.‑
Alixe Bovey, Monsters and grotesques in medieval manuscripts, London, British Library, 2002.
Michael Camille, Gothic art: glorious visions, Upper Saddle River, Prentice Hall, 2003.
Michael Camille, Images dans les marges: aux limites de l’art médiéval, Paris, Gallimard, 1997.
Madeline Harrison Caviness, Reframing medieval art: difference, margins, boundaries, Online publication, 2001.
Martine Clouzot, « La musique des marges. L’iconographie des animaux et des êtres hybrides musiciens dans les
manuscrits enluminés du XIIe au XIVe siècle », Cahiers de Civilisation Médiévale, 1999, vol. 42, no 168, p. 323 342.‑
Irène Fabry-Tehranchi, « Transformations, divertissement et marginalité dans l’illustration du manuscrit du Merlin
, BNF fr. 95 (vers 1290) », in Adeline Latimer-Ionoff, Joanna Pavleski-Malingre et Alicia Servier (dir.), Merveilleux
et marges dans le livre profane à la fin du Moyen Âge (XIIe-XVe siècle), Turnhout, Brepols, 2017, p. 91 109.‑
Lucy Freeman Sandler, « Pictorial and Verbal Play in the Margins: the Case of Bristish Library, Stowe MS 49 »,
in Michelle Brown, Scot McKendrick et Janet Backhouse (dir.), Illuminating the book: makers and interpreters:
Essays in honour of Janet Backhouse, London, University of Toronto Press, 1998, p. 52-62.
Bianca Frohne et Klaus Peter Horn, « On the Fluidity of “« Disability »” in Medieval and Early Modern Societies »,
in Sebastian Barsch, Anne Klein et Pieter Verstraete (dir.), The Imperfect Historian: Disability Histories in Europe ,
Francfort, Peter Lang, 2013, p. 17 40.‑
Philippe Haugeard, Ruses médiévales de la générosité: donner, dépenser, dominer dans la littérature épique et
romanesque des XIIe et XIIIe siècles, Paris, Honoré Champion, 2013.
20. Bibliography
Elizabeth Moore Hunt, « Introduction », in Illuminating the borders of northern French and Flemish manuscripts,
1270-1310, New York, Routledge, 2007, p. 1 19.‑
Laura Kendrick, « Making Sense of Marginalized Images in Manuscripts and Religious Architecture », in A
Companion to Medieval Art, Picturing the lame in Italian art from antiquity to the modern era., Malden,
Wiley-Blackwell, 2008, p. 274 294.‑
Adeline Latimer-Ionoff, Joanna Pavleski-Malingre et Alicia Servier, « Introduction », in Adeline Latimer-Ionoff,
Joanna Pavleski-Malingre et Alicia Servier (dir.), Merveilleux et marges dans le livre profane à la fin du Moyen Âge
(XIIe-XVesiècle), Turnhout, Brepols, p. 91 109.‑
Susan L’Engle, « Outside the canon: graphic and pictorial digressions by artists and scribes », in Susan L’Engle et
Gerald Guest (dir.), Tributes to Jonathan J. G. Alexander: the making and meaning of illuminated medieval &
Renaissance manuscripts, art & architecture, Londres, Harvey Miller, 2006, p. 69 83.‑
Domenic Leo, Images, texts, and marginalia in a « Vows of the peacock » manuscript (New York, Pierpont Morgan
Library MS G24): with a complete concordance and catalogue of peacock manuscripts, Leiden; Boston, Brill, 2013.
Irina Metzler, A Social History of Disability in the Middle Ages: Cultural Considerations of Physical Impairment ,
Londres, Routledge, 2013.
Irina Metzler, Disability in Medieval Europe: Thinking about Physical Impairment during the High Middle Ages, c.
1100-1400, Londres, Routledge, 2006.
Robert Mills, « Monsters and Margins: Representing Difference », in Tim Ayers (dir.), The history of British art,
tome 1, 600-1600, London, Tate Pub., 2008, p. 204 225‑
Carl Nordenfalk, « Drolleries », burlmaga The Burlington Magazine, 1967, vol. 109, no 772, p. 418 421.‑
Livio Pestilli, Picturing the lame in Italian art from antiquity to the modern era, Londres, Routledge, 2017.
Lilian M. C Randall, Images in the margins of Gothic manuscripts, Berkeley, Univ. of California Press, 1966.
Olivier Richard, « Le jeu des aveugles et du cochon. Rite, handicap et société urbaine à la fin du Moyen Âge »,
Revue historique, 2015, no 675, p. 525 556.‑
21. Bibliography
Richard H Rouse et Mary A Rouse, Manuscripts and their makers: commercial book producers in medieval
Paris 1200-1500, London, H. Miller, 2000.
Lucy Freeman Sandler, « The Study of Marginal Imagery: Past, Present, and Future », Studies in Iconography,
1997, vol. 18, p. 1 49.‑
Meyer Schapiro, « On the Aesthetic Attitude in Romanesque Art », in Meyer Schapiro (dir.), Romanesque
Art, New York, G. Braziller, 1977, p. 1 27.‑
Jean Claude Schmitt, « L’univers des marges », in Jacques Dalarun (dir.), Le Moyen âge en lumière, Paris,
Fayard, 2004, p. 329 361.‑
Kathryn A. Smith, « MARGIN », Studies in Iconography, 2012, vol. 33, p. 29 44.‑
Anne Rudloff Stanton, The Queen Mary Psalter: A Study of Affect and Audience, Philadelphie, American
Philosophical Society, 2001.
Andrew Taylor, Textual Situations: Three Medieval Manuscripts and Their Readers, Philadelphie, University
of Pennsylvania Press, 2015.
Andrew Taylor, « Playing on the margins: Bakhtin and the Smithfield decretals », in Thomas James Farrel
(dir.), Bakhtin and Medieval Voices, Gainesville, University Press of Florida, 1996, p. 17 37.‑
Medieval manuscripts, their makers and users: a special, issue of viator in honour of Richard and Mary Rouse,
Turnhout, Brepols Publishers, 2011.
Philippe Verdier et Rosemary T. Morewedge, « Women in the marginalia of Gothic manuscripts and related
works », in The Role of Women in the Middle Ages, New York, State University of New York Press, 1975, p. 121 187.‑
Jean Wirth, Isabelle Engammare et Bräm Andreas, Les marges à drôleries des manuscrits gothiques:
(1250-1350), Genève, Droz librairie, 2008.
Myriam White LeGoff, « De quelques images de merveilles dans les Romans d’Alexandre médiévaux : déplacement
des marges » in in Adeline Latimer-Ionoff, Joanna Pavleski-Malingre et Alicia Servier (dir.), Merveilleux
et marges dans le livre profane à la fin du Moyen Âge (XIIe-XVe siècle), Turnhout, Brepols, 2017, p. 159-165.
22. Cat & bird : Biblia porta, France, ca. 1250, Lausanne, Bibliothèque de Lausanne, U 964, fol. 357v
Credits p. 1-2-18 (mostly from Discarding images)
Snail cat : Maastricht Hours, Netherlands, 1300, BL, ms. Stowe 17, fol. 185r
Monkey : Book od hours, Arras, ca. 1296-1311, Cambrai, BM, ms. 87, fol. 138r
Rabbit : Breviary of Renaud, Metz, 1305, Verdun, Bibliothèque municipale, ms. 107, fol. 127v
Tongue man : Bute Psalter, Paris, ca. 1285, The J. Paul Getty Museum, Ms. 46, fol. 12r
Knight and cock : Livre de Lancelot du Lac, France, ca. 1300, Beinecke Library, MS 229, fol. 282v
Peacock : Alphonso Psalter, London, ca. 1284, BL, Add. 24686, fol. 16v
Egg man : Livre de Lancelot du Lac, France, ca. 1300 Beinecke Library, MS 229, fol. 31r