This document provides an overview of the humanities and various aspects of art. It begins by describing a course that covers visual arts, performing arts, cinema, and literature, exposing students to classical and contemporary artists and works. It then discusses objectives like understanding the meaning and importance of art and appreciating different art forms. The document goes on to define the humanities and explain major areas like literature, visual arts, and performing arts. It also provides examples of famous works and discusses artistic styles, movements, and the subjects, forms, and values of art.
This presentation is to help students and teachers to have more references in ART APPRECIATION Subject in General Education in Higher Education. Not for sale.
This presentation is to help students and teachers to have more references in ART APPRECIATION Subject in General Education in Higher Education. Not for sale.
A Presentation on the Science of HumanitiesAshish Babu
A quick insight into the very definitions of the science of humanities and its various aspects pertaining to the individual as well as to the society as a whole.
Humanities: Literature
Latin littera; letter the art of written works
Literary translated:
“acquaintance with letters”
[“as in the “arts and letters”]
Literature in its widest sense:
Embraces all compositions in writing or print which preserve the
*results of observation,
*thought, or
*fancy;
but those upon the positive sciences are usually excluded.
II.LITERARY GENRE:
literary technique
Tone
Content
Length
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Social Studies is the integrated study of Social Science and humanities to promote effective citizenry.
Social Science is the field of sciences concerned with the studies of the social life of human groups and individuals, including economics, geography, history, political science, psychology, social studies, and sociology. Social Studies is the study of man and their past. Social Science is hard to explain... the Social Sciences are the fields of scientific knowledge and academic scholarship that study social groups and, more generally ,human society.
Understanding Human Expression: Art is a fundamental form of human expression, reflecting cultural, social, political, and religious values across time and geography. By studying art history, we gain insights into the ways different societies have communicated their ideas and emotions through visual media.
Preserving Cultural Heritage: Artworks are tangible embodiments of cultural heritage. Studying art history helps in preserving and interpreting these artworks, ensuring that they are not lost to time and that future generations can appreciate and learn from them.
Contextualizing Historical Events: Art often reflects the historical context in which it was created. By studying art history, we can gain a deeper understanding of historical events, movements, and ideologies, as well as the lives of people who lived during those times.
Appreciating Diversity: Art history encompasses a vast array of styles, techniques, and traditions from around the world. By studying diverse artworks, students gain an appreciation for different cultures, perspectives, and artistic innovations, fostering tolerance and empathy.
Enhancing Critical Thinking: Analyzing artworks involves critical thinking skills such as observation, interpretation, and evaluation. Studying art history encourages students to think critically about visual imagery, symbolism, and artistic techniques, thereby enhancing their analytical abilities.
Inspiring Creativity: Exposure to a wide range of artistic styles and movements can inspire creativity and innovation. Studying art history provides students with a rich visual vocabulary and historical precedents that can inform their own artistic practice and creative endeavors.
Career Opportunities: Knowledge of art history opens up various career opportunities in fields such as museums, galleries, education, publishing, conservation, and cultural heritage management. Many professions value the research, communication, and analytical skills developed through the study of art history.
In summary, studying art history is essential for understanding human culture, preserving heritage, contextualizing history, appreciating diversity, enhancing critical thinking, inspiring creativity, and pursuing various career paths related to the arts and humanities.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
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Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
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Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
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The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
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2. Course Description
• This course covers the study of Visual Arts,
Performing Arts, Cinema, and Literature.
• It will expose students to Classical and
contemporary artists, their works, and the
environment in which they lived, which
inspired them to create.
• The lectures will be supplemented by visits to
galleries, museums, studios, and the cinema
and other areas relevant to the subject.
3. General Objectives
• To understand the meaning and importance
of the art
• To identify and appreciate the different forms
and aspects of art through a study of various
elements, mediums, and techniques used in
the creation of art
• To enhance enjoyment of the arts particularly
local artists and those from the students’ own
cultural heritage
4. HUMANITIES: What is it?
• The term Humanities comes from
the Latin word, “humanitas”
• It generally refers to art, literature,
music, architecture, dance and the
theatre—in which human
subjectivity is emphasized and
individual expressiveness is
dramatized.
5. How important is Humanities?
• The fields of knowledge and study falling
under humanities are dedicated to the
pursuit of discovering and understanding the
nature of man.
• The humanities deal with man as a being of
purpose, of values, loves, hates, ideas and
sometimes as a seer, or prophet with divine
inspiration.
• The humanities aim at educating.
6. Major Areas of Humanities
•Literature
•Visual Arts
•Performing Arts
•Cinema
7. Can you identify the following?
Vincent van Gogh, Starry Night, 1889. Oil on
canvas. Museum of Modern Art, New York.
8. Pablo Picasso, Les Demoiselle de Avignon, 1907. Oil
painting. Museum of Modern Art, New York.
9. Leonardo da Vinci, Mona Lisa. C.1503-1506. Oil painting. Louvre
Museum, Paris
13. The great Russian
novelist Leo N. Tolstoy
(1828-1910), author of
War and Peace and
Anna Karenina,
developed his own
original philosophy of
art. He argues that art
is important even
amidst extensive
poverty and
deprivation.
14. Salient Points in Tolstoy’s
Definition of Art
• In order correctly to define art, it is necessary,
first of all, to cease to consider it as a means
to pleasure and to consider it as one of the
conditions of human life.
• Every work of art causes the receiver to enter
into a certain kind of relationship both with
him who produced, or is producing the art,
and with all those who, simultaneously,
previously, or subsequently, receive the same
artistic impression.
15. • Speech, transmitting the thoughts and
experiences of men, serves as a means of
union among them, and art acts in a similar
manner.
• The activity of art is based on the fact that a
man, receiving through his sense of hearing or
sight another man's expression of feeling, is
capable of experiencing the emotion which
moved the man who expressed it.
16. • Art begins when one person, with the object
of joining another or others to himself in one
and the same a feeling, expresses that feeling
by certain external indications.
• To evoke in oneself a feeling one has once
experienced, and having evoked it in oneself,
then, by means of movements, lines, colors,
sounds, or forms expressed in words, so to
transmit that feeling that others may
experience the same feeling - this is the
activity of art.
17. • Art is a human activity consisting in this, that
one man consciously, by means of certain
external signs, hands on to others feelings he
has lived through, and that other people are
infected by these feelings and also experience
them.
• All human life is filled with works of art of
every kind - from cradlesong, jest, mimicry,
the ornamentation of houses, dress, and
utensils, up to church services, buildings,
monuments, and triumphal processions. It is
all artistic activity.
18. Why Do We Make ART?
• Art is a vital and persistent aspect of human
experience.
• To impose order on disorder and to create
form from formlessness.
• The wish to leave behind after death
something of value by which to be
remembered.
• The wish to preserve one’s likeness after
death.
19.
20. THE VALUE OF ART
• Works of art are valued not only by
artists and patrons, but also by entire
cultures. In fact, the periods of history
that we tend to identify as the high
points of human achievement are
those in which art was most highly
valued and encouraged.
21. Material Value
• Works of art may be valued because they are
made of a precious material.
• During the Middle Ages in Europe, ancient
Greek bronze statues were not valued for their
aesthetic character, nor for what they might
have revealed about Greek culture. Instead
their value lay in the fact that they could be
melted down and reformed into weapons.
24. Intrinsic Vale
• A work of art may contain valuable material,
but that is not the primary basis on which its
quality is judged.
• Intrinsic value is not always apparent, and in
fact varies in different times and places.
• “Is it art?” is a familiar question, which
expresses the dificulty of defining “art” and of
recognizing the aesthetic value of an object.
27. Religious Value
• One important way of communicating Bible
stories and legends of the saints to a largely
illiterate population was through the
sculptures, paintings, mosaics, wall hangings,
and stained-glass windows in churches.
• Beyond its didactic function, the religious
significance of a work of art may be so great
that entire groups of people identify with the
object.
28.
29. Nationalistic Value
• Works of art have nationalistic
value inasmuch as they express
the pride and accomplishment of
a particular culture.
30.
31. Psychological Value
• Our reactions to art span virtually the entire
range of human emotion. They include
pleasure, fright, amusement, avoidance, and
outrage.
• One of the psychological aspects of art is its
ability to attract and repel us, and this is not
necessarily a function of whether or not we
find a particular image aesthetically pleasing.
32.
33. Art is FORM
• Form means (1) elements of art (2)
the principles of design (3) medium
of the artist.
• Form, in this context, is concrete and
fairly easily described - no matter
which piece of art is under scrutiny.
34.
35. Art is CONTENT
• Content is idea-based and means (1) what
the artist meant to portray, (2) what the artist
actually did portray and (3) how we react, as
individuals, to both the intended and actual
messages.
• It includes ways in which a work was
influenced - by religion, or politics, or society
in general, or even the artist's use of
hallucinogenic substances - at the time it was
created.
36.
37. SUBJECT
• Subject is the term used for whatever is
represented in a work of art.
• The subject of the work of art answers the
question:What is it about?”
• Not all arts have subjects. Those arts are
called “nonobjective.”
38. • Painting, sculpture, the graphic arts,
literature, and the theater arts are
generally classified as representational
• Music, architecture, and many of the
functional arts are non-representational.
• The non-objective arts do not present
descriptions, stories or references to
identifiable objects or symbols.
39. Sources of Art Subject
• NATURE
–Next to animals and people and
their activities, nature as landscape
has been the common subject of
the art.
–Has been the most common
inspiration and subject matter for
art.
42. Sources of Art Subject
• HISTORY
–All art is conditioned by the historical
period in which it is created.
–Rulers like to have themselves and the
great deeds of their time perpetuated
consequently, statues and paintings of
the great are found in each civilization.
45. Sources of Art Subject
• GREEK AND ROMAN MYTHOLOGY
–Greek and Roman mythology has been a
very important source for subjects in the
arts.
–Those arts are so well-known that they
count as a definite part of our inheritance.
–During the Renaissance period, poets,
painters, and sculptors drew largely from
Greek and Roman sources for subjects.
46. Sources of Art Subject
• RELIGION
–Religion has played an enormous role in
inspiring works of visual arts, music,
architecture, and literature through ages.
–It was during the Renaissance that the
European artisans became “artists” and
conscious of their role in a way that had
never been true before.
52. REALISM
• When objects are depicted in the way
they would normally appear in nature,
the presentation is said to be realistic.
• It attempts to present the world as it
appears to the everyday senses, and
sought to depict ordinary lives of
ordinary people without exaggeration or
idealization.
53.
54. ABSTRACTION
• When an artist becomes so interested and
engrossed in one phase of a scene that he
does not show the subject at all as an
object reality, but only his idea of it, or his
feeling about it, this referred to as
abstraction.
• This is a technique of simplifying and
reorganizing objects and elements
according to the artist’s creative expression.
55.
56. SYMBOLISM
• In the arts, the use of symbols to concentrate
or intensify meaning, making the work more
subjective than objective.
• Symbolist painters rejected realism and
impressionism. They felt that art should not
simply depict, but should suggest ideas,
moods, and psychological states through
colour, line, and form.
57. • The artist’s task is not to see things but to see
through them to a significance and reality far
deeper that what is given in superficial
appearance.
• The subject matter of the Symbolists becomes
increasingly esoteric and exotic, weird,
mysterious, visionary, dream-like, fantastic.
58. Edvard Much gives us
quite disturbing vision of
neurotic panic breaking
forth in a dreadful but
silent scream – the
scream heard within the
mind under prolonged
anxiety. He also presents
almost unbearable
pictures of the tensions
and psychic anguish that
beset modern men and
the ultimate loneliness
that is the inescapable lot
of us all.
EDVARD MUCH, The Scream, 1893
59. Bright colors, mosaic-like or
enamel-like, stud the surfaces that
enwrap the voluptously somnolent
figures in the Life group, in which
intertwined images of infancy,
youth, maturity, and old age
celebrate life as boaund up with
love. The tableau of defenseless
sleep is set off against the specter
of Death, the nocturnal assassin,
who advances threateningly upon
it. The shroud of the fleshless
Death is appropriately dark as
night, only dimly decked with
funereal black crosses and
chiromantric symbols. While Life,
sated with love, sleeps, its enemy,
Death, wakes. GUSTAV KLIMT, Death And Life, 1908 and 1911
60. FAUVISM
• Fauvism (fauves. “wild beasts”) is
characterised by paintings that used intensely
vivid, non-naturalistic and exuberant colours.
• The Fauves brought color to a new intensity
with startling discords of vermilion and
emerald green, cerulean blue and vivid orange
held together by sweeping brush strokes and
bold patterns.
61. Derain entirely rejects the subtle
harmonies of Impressionism, so
expressive of atmospheric and
climatic conditions, if favor of a
distorted perspective emphasized
by clashing yellows, blues, greens,
and reds against the black accents
of the arches. In this way, the
Fauves freed color from its
traditional role as the description
of the local tone of an object and
helped to prepare both artists and
public for the use of color as an
expressive end in itself. In a sense,
the color became the “subject” of
the picture.
62. The composition is an essay in the
contrast of warm and cool colors and
curving and straight lines. Although
the planes of the picture seem to
resolve into a single, flat spread,
directional lines and the variation in
the strength of color suggest a front
and back, but in the kind of contrived
spatial ambiguity. According to
Matisse: “What I am after, above all, is
expression...I am unable to distingusih
between the feeling I have for life and
the way of expressing it...The whole
arrangement of my picture is
expressive. ..everything plays a part.
Composition is the art of arranging in
a decorative manner the various
elements at the painter’s disposal for
the expression of his feelings...”
63. DADAISM
• In 1916 and 1917 – a number of artists
independently stated their disgust with the
war and life in general by making works of
nonart. This movement was early christened
Dada, a nonsense or babytalk term indicative
of the conviction that European culture had
lost any real meaning at all.
• Dada ignored aesthetics. If art was to appeal
to sensibilities, Dada was intended to offend.
64. Hannah Hoch. Cut with the Dada Kitchen Knife through the Last Weimar
Beer-Belly Cultural Epoch in Germany, 1919, collage of pasted papers,
90x144 cm, Staatliche Museum, Berlin
66. FUTURISM
• It emphasized and glorified themes
associated with contemporary concepts of the
future, including speed, technology, youth and
violence, and objects such as the car, the
airplane and the industrial city.
68. An example of Futurist architecture by Antonio
Sant’’Elia
'Unique Forms of Continuity in Space', bronze sculpture
by Umberto Boccioni.1913, Museum of Modern Art (New York
City)
69. SURREALISM
• Surrealist works feature the element of
surprise, unexpected juxtapositions and non
sequitur; however, many Surrealist artists and
writers regard their work as an expression of
the philosophical movement first and
foremost, with the works being an artifact.
• It is based on the belief in the superior reality
of certain forms of previously neglected
associations, in the omnipotence of dream, in
the disinterested play of thought.
70. Dali creates his most haunting allegory of
the empty space in which time is at an
end. The barren landscape, without
horizon, drifts to infinity, lit by some
eerie, never setting sun. An amorphous
creature sleeps in the foreground,
draped with a limp watch. Another such
watch hangs from the branch of a dead
tree; yet another hangs half over the
edge of a rectangular form. The watches
are visible by ants and a fly, as if they
were decaying, orgnic life, soft and
viscous. The watch- a metallic, intricate,
and precise instrument – is
metamorphosed into an object
devourable by busy ants. We recognize
the impossible landscape and its
impossibe contents as perfectly possible
in the dream world.
SALVADOR DALI, The Peristence of Memory, 1931
71. The terrors of wars and pogroms is
suggested by the pitiful little figures
and the village in the background,
while resignation and hope are
expressed in the flyng angel, the
Torah scroll, and the rabbi-Christ
figure on the cross. The work is a
moving portrayal of the artist’s
feeling that faith is important in a
world of war and brutality. Although
the very free, floating in
composition- with unexpected
juxtapositions of the actual and teh
unearthly – is Surrealist in the sense
that it perpetuates the fantastic
content of a dream, the individual
symbols refer to much more than
Chagall’s personal psychic life.
MARC CHAGALL, Crucifixion, 1943
72. EXPRESSIONISM
• It is an artistic style in which the artist
attempts to depict not objective reality but
rather the subjective emotions and responses
that objects and events arouse in him.
• He accomplishes his aim through distortion,
exaggeration, primitivism, and fantasy and
through the vivid, jarring, violent, or dynamic
application of formal elements.
73. IMPRESSSIONISM
• The Impressionists sought to create the
illusion of forms bathed in light and
atmosphere. This required an intensive study
of outdoor light as the source of our
experience of color, which revealed that local
color – the actual color of the object – is
usually modified by the quality of the light in
which it is seen, by reflections from the other
objects, and by the effects produced by
juxtaposed colors.
74. • The Impressionists achieved remarkably
brilliant effects with their characteristically
short, choppy brush strokes, which so
accurately caught the vibrating quality of light.
75. Diego Velazquez, Venus and Cupid
David Raderstorf, Nude Abstraction
Gustav klimt, Symbolism Nude