Abstract This arthistory study compares and contrasts the realism that is exhibited within the paintings of Caravaggio and Annibale Carracci. By analyzing the Farnese gallery of Carracci, this paper sees the sense of realism that is anatomically in compliance with Caravaggio's painting style. Within the scope of realism, however, Caravaggio is more reliant on shadows and color schematics than Carracci in his compositional technique. This paper further discusses how in this manner, both Carracci and Caravaggio express similarities and differences in their approach to painting technique during the Italian Renaissance.
Abstract In this article, the writer offers a comparison of how South African, American, and Czech sources portray national history, arthistory, world history and personal history. The writer examines a selection of texts to identify to what extent each amplifies linkages between world history, natural history, arthistory and personal history.
From the Paper "History as a record of events and dates can be a dull affair because it does not necessarily capture the dynamics of personal or even state actions as they were experienced by the people involved. Yet people are what make history and what made up the culture or cultures in which events and actions unfolded. Professional historians, if they are skilled enough, can make an account of an era or a significant set of events lively, but the life's blood of a culture a people a person or ... "
Tags: Personal, history, national, history, world, history, art, history
Abstract This paper compares and contrasts two of the most famous periods in the history of Western art, namely, the Baroque and the Impressionist era. Separated literally by about two hundred years, it explains that the stylistic differences and thematic choices of these two periods speak to a fundamental ideological divide between the artists who worked in the Baroque style and those who considered themselves Impressionists. The author also discusses the overall of the two periods.
From the Paper "The history of Western art is replete with various styles, techniques, and periods. The examination and study of any one of those periods in art history could take a lifetime. And yet, we can also learn much from a more cursory comparison of multiple periods. For that reason, I have decided to compare and contrast two of the most famous periods in the history of Western art: the Baroque and the Impressionist era. Separated literally by some odd two hundred years, the stylistic differences and thematic choices of these two periods speak to a fundamental ideological divide between the artists who worked in the Baroque style and those who considered themselves Impressionists. To begin with, it would help to have a basic sense of what the overall trends of the Baroque were compared to the Impressionist era. The Baroque period was much earlier and spread outward from Italy from the ..."
Abstract This paper examines the intervention of the remarkable woman artist, Artemisia Gentileschi. The paper shows that it is impossible to separate her unique contribution to art, from her material conditions, including her gender. The paper argues at the same time that her intervention to arthistory must not be reduced to her gender, or overly sexualized, but appreciated for itself.
From the Paper "It is suggested that this statement should stand as the conclusion to the above attempt to separate art as art in itself from the gendered, biographical and social reality of Artemisia's life. There can be no doubt that Artemisia made a substantial intervention in art history, not least of all by portraying women as active agents, not merely as objects to be watched. There can also be no doubt that it was remarkable that she managed to do this, given the fact that she was female in a society that did not provide to women the material conditions necessary for art to be produces. Moreover, judging from her oeuvre, there can be no doubt that the rape by Tassi had a profound influence on her work, and may in fact account for her status as a proto-feminist. Nevertheless, in assessing her intervention, we must always resist the temptation to reduce our assessment to nothing but a gender-based analysis. To do so would trivialize her by sexualizing her, and would not do justice to her achievements, and to her intervention in art history."
Abstract The writer of this paper defines the term Orientalism, which comes from the Latin word oriens, as the rising sun, which generally implies, 'the East.' This paper focuses on the culture, religion, art and history of Orientalism. This paper explores the European view of Islam throughout history. The writer explains that during the birth of Christianity and Islam there was a distinct difference between European Christian cultures and those of East and North Africa, which are detailed at length in this paper. During the Middle Ages the European Christians denounced the Islamic people as the enemies of Christendom, due to their lack of knowledge of Eastern culture. This paper discusses how the Enlightenment thinkers of the 18th century viewed the Eastern culture as being superior to that of the Christian west. This paper illustrates that Islamic societies were praised for their religious tolerance when compared with Christian west. This paper also delves into those who opposed the Orientalist culture, such as James Mill, who believed that Eastern civilizations were stagnant and corrupt and Karl Marx who believed that Eastern methods of production were static. Christian evangelists further maligned Eastern traditions as superstitious nonsense. This paper also examines the rich artistic history of the Oriental culture. Depictions of Islamic Moors were found in Medieval and Renaissance art, but it wasn't until the 19th century that Orientalism became recognized in the arts. This paper also details the outspoken views and opinions of political activist and author Edward Said.
Table of Contents:
Definition of Orientalism
History of Orientalism
Orientalism in the Arts History of Orientalism in the Arts Edward Said and Orientalism
References
From the Paper "Photography was still in its infancy and did not allow for the capture of the sunlight, the colors and the mood in which a painter could. With the iconoclastic nature of Islam, and the forbidding of the depiction of the prophet Muhammad, there was little representational art in Islam. Most of their artwork was centered on pattern and design. For this reason, the Muslim world had very little visual record of their history, including the people and the cities that existed prior to modern photography. Today, still, the best visual record of exotic cities like Cairo or Damascus, prior to the advent of modern photography, exists in 19th century paintings by Europeans and Americans. In the mid to late 19th century, painters from every country in Europe and from across the oceans in America, came to the East."
Abstract This art study examines the American paintings and sculpture exhibit at the Metropolitan Museum of Arts in New York City. The writer notes that the exhibit is formulated around a three-fold objective: portraits, landscapes and sculpture for early American history. The writer maintains that by examining one piece from each of these sections of the exhibit, there can be a diversified analysis of how the pieces are placed into the overall framework of the museum. The writer concludes that these American art exhibits represent a historical view of early American history and stylistics.
From the Paper "The historical perspective of this painting is recreated in a fictional pose for Washington and his solders as they cross the Delaware to surprise their British and Hessian enemy. This was an important point during the revolutionary war in which Washington gained a growing national and international support for the cause for independence. This aspect of the exhibition directly relates to the patriotic symbolism of the gallery, as it is representative of a collection that define American historical context. The painting is 149 x 255 inches and is placed within one of the large gallery rooms. The need for this is accentuated not only in its size, but for the centrality of its importance for the historical forum that the Metropolitan Museum of art is presenting. This painting is properly placed in the overall architecture of the northeastern part of the Met, since it allows a wide range of visibility and composure for the viewers to understand the crucial place this painting holds in American art history."
Abstract This paper discusses the various periods and works in arthistory. The paper explains that the Gothic and early renaissance periods represented periods of rebirth in art. The paper looks at why one of the permanent sources of art is nature. The paper then analyzes the "Labors of the Months", which according to several historians, made its first impact in classical iconography as early as 800 or the 9th century AD.
From the Paper "The representations of the labors of the months are found in two Anglo-Saxon manuscripts. Both are written in the 11th century, although one dates in the first half of the century and the other in the second half, which might explain the influence of the Norman invasion along the way. One was created in Canterbury, while another was made in Winchester. All the representations for the months are common between the two, except for the three months of summer, June, July and August, where the same activities (cutting wood, mowing and reaping) are placed in different months depending on the manuscript."
Abstract In this paper the writer discusses the Mayan and Aztec cultures in a comparative nature to reveal the similarities in their interrelation to each other. By understanding the connectedness of the two cultures, the writer shows why they are so closely related in their art. Further, the writer shows the way that they made their art for life and religion. The writer also demonstrates that through an understanding of the artistic history of these nations, there is a semblance of influence that can be found in both of them.
Abstract This paper discusses how the human body has always been a constant subject in art and in particular western art from the ancient times. This essay examines the various ways in which the body was represented in art from ancient to modern times. Many great pieces of art have had the nude as their theme, or at least contained nudes. The nude is often the subject of art but can also be considered an art form. The paper also looks at the nude as a subject of art and how notions of gender differences, desire and identity reflected on the female nudity in art.
Abstract The paper discusses the minimal art movement in the 50s and onward. Specifically, the paper looks at the type of sculptures made during that time and its influence on contemporary art.
Abstract This paper discusses several art styles as well as cultural movements, namely Baroque, Rococo, Neoclassical and Romanticism. The author provides a brief summary of each of these art movements including its timeline in popularity and gives examples of paintings that bear these signature styles. The paper also compares these art movements to one another, highlighting their differences and similarities.
From the Paper "By the middle of the 18th century, the rediscovery of ancient Greek art and architecture turned the artistic tastes of Europe in a brand-new direction which began the style and period known as Neoclassical. Within this period's admiration for the art of Greece, a similar admiration came about for the art of ancient Rome via the excavations of the towns of Pompeii and Herculaneum in the 1730's and 1740's. Several excellent examples of this new style include the portico of the Church of Ste. Genevieve, now known as the Pantheon, in Paris, designed by Jacques Germain Soufflot (1713 to 1780)."
Abstract This paper examines and describes the traditional symbols and motifs of Celtic Art and discusses how they were so important in Celtic societies that they survived the conversion to Christianity. These Celtic symbols and motifs can also be found in early Christian Art. This paper also includes illustrations of various Celtic artwork.
From the Paper "Often in illuminated manuscripts one finds a Celtic characteristic of placing red dots around initials that reminiscent of the stippling on metalwork . And a textual tradition that is popular even today, known as diminuendo, in which the first letter of a text is large and the rest diminish in size. Illuminated manuscripts kept not only imagery of the Celts but the superstitions in some cases as well. Many illuminated manuscripts were thought to have special powers, and were often used for "talismanic purposes " including healing and hope for victory in battles. Thus the societies of the Celts and Christians were not only blended in art but in religion and culture as well. Keeping their superstitions and respect for nature, the Celts adopted certain aspects and rituals of Christianity. And Christianity in return adopted many Celtic customs and beliefs."
Tags:arthistory, celtic art, christian art, symbols motifs gospel
Abstract In this paper, the comparison and contrasting artistic designs involved in both Roman and Umayyad fresco paintings are analyzed. It explains that the earlier Roman designs played a great part in influencing the Islamic peoples to use figural drawing and various decorative natural or organic themes. Much of this is seen within the context of the examples used in the paper, which conveys a large-scale influence of Roman Villa-styled fresco application and artistic design on various Umayyad palaces.
From the Paper "This art study will examine how the Roman Fresco had influenced the Umayyad perspective on murals and fresco work in their mosaic design and symbolic meanings within these works. By providing examples from the various Umayyad frescoes that now exist in various levels of decay, one can realize how Roman frescoes had a major impact on how these latter works of art were achieved. In essence, this paper is to describe the influences that Roman frescos/wall painting had on Islamic fresco/ mosaic & wall-paintings in art history. The Umayyad choice of Syria as their power base had enormous effects on later Islamic art, as craftsmen from all over gathered together to learn compete and work on Islamic projects. The Umayyad art design was enhanced by the ideas and traditions of imperial Rome, incorporating ..."
Abstract The paper explains that by examining the Baroque work of Carracci, Caravaggio and the contrasting work of Rococo artist, Antoine Watteau, one can see how they are compared and contrasted in arthistory. The paper discusses how the earlier Baroque style offered a painting technique which relied on dynamic chiaroscuro and color values, along with the greater emphasis on gigantism in the heroic poses offered by Caravaggio and Carracci. The paper notes that while the Baroque period lasted for nearly one hundred years, the changing climate of political and class based construct in painting veered into the pomp and circumstance of the French elite in the 18th century.
From the Paper "This art study will compare and contrast the stylistics of Baroque and Rococo art. Although these two styles appear to be similar in their artistic painting techniques, the ideological content value of Baroque and Rococo art is very different. In many ways, Baroque will be examined for the humanistic and classical values in various paintings of this period. However, as art veered away from this strict Grecian content style, the highly dramatic and theatrically elitist "art for arts sake" arose within Rococo paintings. In essence, the initial classicism of Baroque art that sought deeper meaning in classical themes changed into a far more dramatic based on pomp and extravagance. The Baroque period is generally known to have begun in 1600 with major painters such as Caravaggio and Carracci creating classical styled paintings."
Abstract The paper examines how humankind has always had an inherent need for expression and this need has been fulfilled through various media such as art, literature, poetry and music. It looks at how the field of art has always been a fascinating form of human expression in that it blends aesthetics with the artist's comment or interpretation of culture, history, politics and other aspects of society. It describes how art historians study art from two primary angles: the quality of artistic rendition and the historical reflection of the artist's time. It evaluates the theories of some famous philosophers such as Plato, Aristotle and Kant on how an art historian needs to develop objectivity in interpreting the life and times of the work being studied and the artist's own intended expression.
From the Paper "Another epistemological assumption underlying art is that it necessarily has to be concerned with producing something of beauty, as defined by social standards. This is a natural fall out of the underlying theory that knowledge of vision, coded to recognize aesthetics and beauty, is necessary to appreciate art. An opposing philosophy exists wherein great art critics like "John Ruskin, Herbert Read, Morris Collis and Eric Newton would judge art from a wider angle". Any object may be called beautiful"feelings which one obtained in the aesthetic contemplation of it are pleasurable feelings" (Ijele Web site). This is in line with Kant's Critique of Pure Reason, where he dealt with aesthetics as if it only has to do with perception."
