I've adapted this from an original presentation that wasn't mine; adding a few more slides. Serves as an excellent introduction to Art History and its methodology.
Egon Schiele and Eduardo Paolozzi - Initial ResearchCourtney Grant
Initial research into two artists from the past including a short biography, their influences, quotes, analysis of their works as well as a short comparison.
I've adapted this from an original presentation that wasn't mine; adding a few more slides. Serves as an excellent introduction to Art History and its methodology.
Egon Schiele and Eduardo Paolozzi - Initial ResearchCourtney Grant
Initial research into two artists from the past including a short biography, their influences, quotes, analysis of their works as well as a short comparison.
JUST NEED (4) REPLIES TO THE OTHER STUDENTS2-3 Sentences Replay.docxcroysierkathey
JUST NEED (4) REPLIES TO THE OTHER STUDENTS
2-3 Sentences Replay
·
· Week Four Discussion 1
Compare the work of two artists from any two different art movements covered in Chapter 21.
· Describe, then compare, the contexts, concerns and main aspects of each movement and how those appear in the artworks you've selected.
· Be sure to explain why you made your particular choices of movements, artists and artworks.
· Evaluate the artwork you've selected according to any criteria you think are relevant (given what you have learned so far in the course).
Be sure that you are making an evaluative comparison of the two artists’ work, rather than simply discussing them in turn.
REPLY TO:Permenter
Week 4, Discussion 1
COLLAPSE
Top of Form
Romanticism and Impressionism vary greatly in their style. Romanticism was in favor for a much longer period of time, roughly 1800-1890, than Impressionism (1870-1880). Romanticism was more an attitude and choice of subjects than a true style. The artists of this period looked for emotions and imagination when deciding what they wanted to create. They looked for the risqué and exotic as well as mystery. Impressionist artists had some more flexibility with the new availability of equipment that was more portable. This allowed Impressionists to work in the actual outdoors as opposed to studios. These artists used natural light, shadows and a lighter color palette to express their ideas.
The pieces for this discussion were chosen due to the similar subject of the works yet stark contrast. Both pieces feature a group of people enjoying a leisurely activity, yet they are not alike at all. The way they contrast and show their specific movements is remarkably interesting. First, the Romanticism piece chosen is The Women of Algiers by Delacroix (p.485, fig. 21.2). This piece is very risqué, and the subject of the piece is quite scandalous. The women portrayed are women in a harem and it was unusual for outsiders to be allowed in, let alone document it such as this. Delacroix demonstrates this period by the subject of the piece being so exotic and mysterious. He does a great job showing unity yet variety here as well. The painting feels very dark and colors of the piece are mostly neutral and really work well together, with a kick of reddish orange here and there to brighten up the piece.
The Impressionist piece Le Moulin de la Galette (p.490, fig. 21.7) by Renoir is a stark contrast to The Women of Algiers . This piece, while detailed enough for one to see the subjects and understand the context of the painting, is not focused on the clear lines and defined objects as The Women of Algiers is. Renoir uses a freer stroke and uses emphasis and subordination. The emphasis of the painting is on the small group in the front of the painting as the rest get blurrier the farther away they are. This painting is so much brighter with a lighter palette than the other clearly showing that it is from a different mov ...
Visual Arts in the Classroom. Painting and Drawing, by Angela Clarke. Submitted as part of a Postgraduate Masters in Art & Design Education at NCAD, Dublin, Ireland
Expressionism arose in Europe in the late nineteenth and early twentieth centuries as a response to bourgeois complacency and the increasing mechanization and urbanization of society. Painters such as Vincent van Gough, Paul Gauguin, and Edvard Munch helped to lay the foundation for Expressionism in their use of
distorted figures and vibrant color schemes to depict raw and powerfully emotional states of mind. Munch’s The Scream (1894), For example a lithograph depicting a figure with a contorted face Screaming in horror.
Abstract art is a form of visual art that does not attempt to represent or depict external reality, but instead uses colors, shapes, and textures to create a visual language of its own. The emphasis in abstract art is on the formal elements of art, such as line, color, and composition, rather than on representation of the world around us.
Abstract art emerged in the early 20th century as artists sought to move away from traditional forms of representation and create something new and original. It has since become a major movement in the art world, with many different styles and approaches to abstract art.
Some notable artists associated with abstract art include Wassily Kandinsky, Kazimir Malevich, Piet Mondrian, and Jackson Pollock. The movement has also influenced other forms of art, such as music, literature, and architecture.
Today, abstract art continues to evolve and push the boundaries of what we consider art to be. It remains a vibrant and exciting field for artists and art enthusiasts alike.
Colonial Empires About 1900This map is really important .docxdrandy1
Colonial Empires About 1900
This map is really important in understanding how non-Western cultures would have a profound impact on art of the early 20th century. Africa, in particular, was divided among many nations with France taking a huge chunk. Many items would be imported into Europe and would inspire artists like Picasso and Matisse, as you will see.
HENRI MATISSE, Luxe, calme et volupté, 1904-5
Fauvism:
Bold colors of Van Gogh, but used them as complete artistic expression; figure was secondary to color, form, and line; combination of subjective expression and pure optical sensation
Called the fauves by critics who thought the artists like Matisse painted like wild beasts
Combination of Impressionism’s love of nature with Post-Impressionism’s love of expressive color; influenced by African art
Impression upon other coming of age avant-garde artists who were trying to take what Cézanne started even further
Not an entirely cohesive movement as the artists all had their own personal agendas
Henri Matisse first studied law, but in 1891 enrolled in art school and studied under Bouguereau (whose idea later rejected) then studied with Moreau in 1892 who encouraged him to follow his own direction. Later he would experiment with non-descriptive color. He met Andre Derain and Maurice de Vlaminck in 1900 who would also work in the fauvist style.
I’m showing you other works by Matisse so that you get a sense of how much he experimented during the first decade of the 20th century. This piece is a radical reinterpretation of French pastoral landscape painting. We have nudes who don’t have a care in the world, an idyllic female world. There are staccato brushstrokes and color straight from the paint tube applied in a rainbow of colors.
HENRI MATISSE, Blue Nude: Memory of Biskra, 1907
Influences of African art can be seen in the exaggeration of the female body, especially in the breasts and buttocks, and in the mask-like face. The extreme position of the body makes it look like the figure is composed of different people. The color is inherently Fauve in that it isn’t descriptive of nature. This is part of the odalisque tradition, but his painting isn’t seductive and erotic because Matisse believed that he was creating a picture, not a woman.
Figure 24-3 HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, approx.
5’ 11” x 8’ 1”. State Hermitage Museum, Saint Petersburg.
This painting is more abstract. The use of color is very unconventional and gives the painting a sense of flatness. It is more decorative in surface patterning; a new pictorial space is defined by color and line. Matisse is doing something important here: he’s tell you that you’re looking at a painting, not an actual view of the world. By emphasizing the flatness of the surface, he’s emphasizing that it is a thing in and of itself.
Figure 24-6 ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’ 11 1/4” x 6’ 6 7/8”. M.
Colonial Empires About 1900This map is really important .docxcargillfilberto
Colonial Empires About 1900
This map is really important in understanding how non-Western cultures would have a profound impact on art of the early 20th century. Africa, in particular, was divided among many nations with France taking a huge chunk. Many items would be imported into Europe and would inspire artists like Picasso and Matisse, as you will see.
HENRI MATISSE, Luxe, calme et volupté, 1904-5
Fauvism:
Bold colors of Van Gogh, but used them as complete artistic expression; figure was secondary to color, form, and line; combination of subjective expression and pure optical sensation
Called the fauves by critics who thought the artists like Matisse painted like wild beasts
Combination of Impressionism’s love of nature with Post-Impressionism’s love of expressive color; influenced by African art
Impression upon other coming of age avant-garde artists who were trying to take what Cézanne started even further
Not an entirely cohesive movement as the artists all had their own personal agendas
Henri Matisse first studied law, but in 1891 enrolled in art school and studied under Bouguereau (whose idea later rejected) then studied with Moreau in 1892 who encouraged him to follow his own direction. Later he would experiment with non-descriptive color. He met Andre Derain and Maurice de Vlaminck in 1900 who would also work in the fauvist style.
I’m showing you other works by Matisse so that you get a sense of how much he experimented during the first decade of the 20th century. This piece is a radical reinterpretation of French pastoral landscape painting. We have nudes who don’t have a care in the world, an idyllic female world. There are staccato brushstrokes and color straight from the paint tube applied in a rainbow of colors.
HENRI MATISSE, Blue Nude: Memory of Biskra, 1907
Influences of African art can be seen in the exaggeration of the female body, especially in the breasts and buttocks, and in the mask-like face. The extreme position of the body makes it look like the figure is composed of different people. The color is inherently Fauve in that it isn’t descriptive of nature. This is part of the odalisque tradition, but his painting isn’t seductive and erotic because Matisse believed that he was creating a picture, not a woman.
Figure 24-3 HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, approx.
5’ 11” x 8’ 1”. State Hermitage Museum, Saint Petersburg.
This painting is more abstract. The use of color is very unconventional and gives the painting a sense of flatness. It is more decorative in surface patterning; a new pictorial space is defined by color and line. Matisse is doing something important here: he’s tell you that you’re looking at a painting, not an actual view of the world. By emphasizing the flatness of the surface, he’s emphasizing that it is a thing in and of itself.
Figure 24-6 ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’ 11 1/4” x 6’ 6 7/8”. M.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
2. Piero Della Francesca
Piero Della Francesca was an Italian painter who mainly explored the use of perspective
in his paintings, who became well renowned in the 20th century, mainly due to the
mathematics and geometrics used in his artworks. He contributed to the Italian
renaissance with his large geometrical frescoes. There is not much known about Piero’s
training as a painter in his early life, however its thought he was taught by local masters
who had been influenced by Sienese art, which was founded in Florence, Italy. In 1439
Piero worked as an assistant of Domenico Veneziano, who at the time was painting
frescoes for the hospital of Sta, in Italy. Piero would have been advised to similar well
known artists by Domenico Veneziano, whose own work show emphasis on colour and
light. The contacts with the early Renaissance artists of Florence provided the
foundation of Piero’s own style. In 1442, Piero was elected to the town council. The
Misericordia Altarpiece shows Piero’s appreciation to the Florentines Donatello and
Masaccio, his affection for geometric form, and the slowness and deliberation with which
he habitually worked. Piero Della Francesca’s style is shown in frescoes painted in the
choir of the church of S. Francesco at Arezzo. In his old age Piero stopped painting and
instead wrote a treatise on painting between 1474 and 1482, which was called ‘On
Perspective in Painting’. He included a range of diagrams on geometric, proportional and
perspectival problems. His most notable pupils were Signorelli and Perugino, where its
easy to see his influence on perspective and proportion.
3. Influences
• In 1439 he was working in Florence
with Domenico Veneziano, whose
use of space and proportion
influenced him.
• Piero’s teachers were influenced by
Sienese art. Therefore his style was
based on the techniques used in the
style of Sienese.
• Around 1448 Piero worked in the
service of Marchese Leonello d’Este
in Ferrara, where he may have been
influenced by northern Italian art.
4. Quotes
Quote Analysis
“Certainly many painters who do not use
perspective have also been the object of
praise; however, they were praised with
faulty judgement by men with no
knowledge of the value of this art.”
This quote shows that his artistic style
is based around perspective, and it
shows that his approach on each of his
artworks is mathematical as well as
artistic. The quote also shows that he
ranks the use of perspective very
highly within his artworks.
“The division of our culture is making us more obtuse than we
need be: we can repair communications to some extent: but, as I
have said before, we are not going to turn out men and women
who understand as much of their world as Piero Della
Francesca did of his, or Pascal, or Goethe. With good fortune,
however, we can educate a large proportion of our better minds
so that they are not ignorant of the imaginative experience,
both in the arts and in science, nor ignorant either of the
endowments of applied science, of the remediable suffering of
most of their fellow humans, and of the responsibilities which,
once seen, cannot be denied.”
This statement isn’t said by Piero but
his name is used in the context where,
he is described as one of the best as
what he does; and how knowledgeable
he is within his area of art.
5. Two Examples
The painting above has delicate line qualities due to the line
weight being very light. The use of shape is very intricate
with a large use of repetition of rectangles and squares to
make up the overall building, however with the central
building being curved, it contrast with its surroundings. Due
to the artwork being an architectural painting, the forms
need to be in proportion to each other which they are. The
colour is important to this painting as it creates a sense of
depth as the tone in the sky and the buildings are more
dull/flat in the background which is then emphasised by the
one point perspective which adds to the overall proportion.
When looking at the artwork, you can see the clear
horizontal and vertical lines which creates a formal
atmosphere.
In this artwork it’s easy to see grid-like nature of the painting
which has been thought out by Francesca. The nature of the
horizontal and vertical lines again influence the perspective
which pushes the left side to the background and enforces the
foreground. The figures help create a sense of scale of the
buildings and of their surroundings. Colour plays a large role to
the painting as the warm vibrancy of the foreground and cold
tones in the left side almost creates a layered affect and
separated each half of the image. The reason for this is because
of the figures on the right being exposed to more natural light
due to them being outside. Overall the painting captures a large
space and movement, as the buildings and tree behind the
figures on the right creates the illusion of the distance between
the two. Although the painting is balanced by colours and the
form of the architecture and flooring on each side.
6. Oskar Schlemmer
Oskar Schlemmer is a German painter, sculptor, choreographer, and designer who is
known for ballet/theatre productions and also his paintings. Schlemmer was working with
design at a young age, as he worked in a marquetry workshop, and also took classes in the
school of applied arts in Stuttgart, where he then carried on to studying in the Stuttgart
Academy of Fine Art. After returning back from Berlin, where he researched into artistic
trends, he returned to Stuttgart in 1912 to become a student of Adolf Holzel. In 1919,
after returning from fighting in WW1, he helped build and modernize the curriculum at
the Stuttgart Academy of Fine Art. Although a year later he was invited to the Bauhaus
by Walter Gropius. He contributed to sculpture(metal works), life drawings, mural
paintings and then later becoming a teacher who focused on form. He is most famous for
his ‘Triadic Ballet’ which he choreographed and designed the costumes based on cylinder,
sphere, cone and spiral shapes. The theatre/dance productions that he was involved in
influenced the style of his paintings and the way he painted figures. Schlemmer was
commissioned to paint murals across Germany in the 1920s, however many of then were
vandalised or destroyed by the Nazi party. He moved on to teach in a state art academy in
Breslau, where he did most of his famous paintings, for example ‘Bauhaus Stairway’.
Although, the Nazi party again restricted him from teaching which forced him to move to
Switzerland. Towards the end of his life, he struggled to exhibit his work due to the Nazi
Regime. The Nazi party did display his work once in 1937, where the exhibition was
named ‘Degenerate Art’ which was propaganda for the Nazi party.
7. Influences
• Schlemmer served as head of the stage
workshop at the Bauhaus from 1923 to 1929.
His experience with dance influenced his works,
like the ‘Dancer’ and ‘Bauhaus stairway’
• His artworks mainly deals with the idea of a
figure in space. Where he mixes formal
geometric shape into the form of the figure.
• He is also influenced by Cubism, which taught
him to integrate figures into geometric
structures.
• His use of choreography, influenced the way he
painted his figures, where his ideas were also
incorporated with linear geometrics from the
key ideas of the Bauhaus.
8. Quotes
Quote Analysis
“If today's arts love the machine, technology and organization,
if they aspire to precision and reject anything vague and
dreamy, this implies an instinctive repudiation of chaos and a
longing to find the form appropriate to our times.”
This quote implies that Schlemmer doesn’t strive
towards perfection and precision of specific forms and
shapes, otherwise he feels it would have a negative
impact towards art. Its almost like he feels that the
creation of art should be natural.
“Life has become so mechanized, thanks to machines and a
technology which our senses cannot possibly ignore, that we are
intensely aware of man as a machine and the body as a mechanism.
In art, especially in painting we are witnessing a search for the
roots and sources of all creativity; this grows out of the bankruptcy
brought on by excessive refinement.”
This shows his dislike towards machinery and technology. This
links back to the last quote where he believes that too many
people want to specifically find creativity, which he fells is
being provoked by technology. This shows that in his own
approach he uses natural forms which aren’t forced upon him.
“In the face of the economic plight, it is our task to
become pioneers of simplicity, that is, to find a simple
form for all of life’s necessities, which is at the same
time respectable and genuine.”
Schlemmer in this quote shows that his thinking is
basic and approach on design is all about simplicity.
This thinking is influenced by the basic teachings of
the Bauhaus school where Schlemmer taught.
9. Two Examples
The painting to the right works well due to the
juxtaposition between the curved human
figures and the linear geometrics of the
structure of the buildings. However the figures
allude to 2D shapes like rectangles, squares
and triangles, then the curvature and shade
turn them into 3D objects. What also sets the
figures and architecture apart is the texture.
On the figures the texture is rough yet the
staircase is smooth. Schlemmer creates
movement in the painting through the flow and
rhythm of the figures. This is due to his theatre
and choreography background. The use of light
on each figure and surface produces a soft
atmosphere. There is a good harmony between
the colour scheme as he utilises mainly white,
black, grey and blue. Although immediately the
viewer’s eye is drawn to the orange figure in the
centre, this balances the rest of the surrounding
artwork.
The sculpture above has a semi-abstract shape which alludes to the
human figure. With Schlemmer’s background of teaching form at the
Bauhaus and also use of dance, he captures the movement of the figure,
with the flowing curved nature of the object. This is emphasised by the
use of steel, which reflects light and silver tones around the sculpture
which keeps the viewers eye moving around the sculpture. Although in
the centre of the model the formal linear geometrics contrast against
curves, but the monochrome material keeps the rhythm of the overall
aesthetics. The texture is seen to be smooth because of the steel which
adds soft accents of white light. Finally space is captured within the
artwork, as the layered forms creates different shadows on each façade.