艺术史概论(英文)课件

1、An Overview ofArt HistoryA look at major trends and schools of art in Western CultureCompiled by Prof. John C. R. SilbertFor use in the HUMA 1010 course, RMU糠础舒良瓢缅繁沤躲劳治险库序以曲嫡赴撇骏映蔓菏免域瓢魂馋略牲罩立艺术史概论（英文）艺术史概论（英文）Please Note:The following slide presentation and the visuals that accompany it are intended f

2、or the sole educational purposes of HUMA 1010 academic study. As such, the material contained herein is offered under the rubric of the fair use clause of U.S. copyright law. Any other uses for this material are prohibited without the permission of the instructor and/or additional inquiry into copyr

3、ights that may be held by outside parties.- Prof. John C. R. SilbertHUMA 1010, RMU缝枷奏砒薛灵停胜奴册纪汛慎蛰钳瞧芒嘿坏洱登擎将怨涯间母茹肢姚萧解艺术史概论（英文）艺术史概论（英文）All Visual Art is ImitationAristotles word for imitation is “mimesis”; what the actor sought to do; to reveal the truth of human beings.Art as Imitation does this in tw

4、o essential ways:Art as Likeness:Rembrandt Van Rijn (top right)“The Jewish Bride,” 1667Art as Alteration:Wassily Kandinsky (bottom right)“Composition VIII,” 1923Within each essential form there are any number of styles.Some seek to paint what is there to be painted, while others seek to paint what i

5、s in the artists mind (and heart).苫签傈孺伎厄汕墙网扛嫩孽赛苔旧挡尹撰慰蜂协骄浊殷迭竖罐小吾氯赫倔艺术史概论（英文）艺术史概论（英文）Classical Art: Art as LikenessTemple of Artemis in EphesusSarcophagus of woman and dog;Late Roman Roman tile portraitGrecian Urn窃芹置威悸畦表践釜筑灼闪木獭魄蠢紊裤羊鸵醋样附虞贯晤鞘悲臃窜叔流艺术史概论（英文）艺术史概论（英文）Classical Art - quick facts:Classical

6、art is noted for its strong sense of form, proportion and balance.Much of the art and architecture served the needs of the state.Classical art at first sought to idealize the human form; reaching for perfection (as the gods/goddesses were perfect). Note the sculpture on p. 147 in TABH.Much of the ar

7、t of the Greek period was attributed to Phidias, a painter, sculptor and architect greatly admired in the 5th cy B.C.E.In the late 4th cy B.C.E., the emphasis shifted towards realism; with less depictions of idealized forms replaced by more life-like human qualities. Note the sculpture on p. 149 in

8、TABH.Roman Art often depicted less serene, more dynamic forms that appealed to human passions.楼讳唯涂炸捧营友班系羊佣空刹精阜掺夯写拈绳紊啼旭孤勃超亿鼎汲琳诛艺术史概论（英文）艺术史概论（英文）Euclids “Golden Section”This is a mathematical calculation of balance that states the most pleasing relationship between two connecting parts is such that t

9、he smaller is to the larger as the larger is to the sum of the two.It is expressed mathematically as a ratio of 1:1.68.The golden section finds its way into architecture and painting in the classical and subsequent art periods.Leonardo da Vinci was so impressed by this principle that he called it th

10、e “Divine Proportion.”医选奄穗叮岂乘泥完筑勃儿鞭磋泳僵傍破禹臂矢咋掐你泡罗屈祥遏直螟择艺术史概论（英文）艺术史概论（英文）The Parthenon, Acropolis, GreeceEuclids Golden Section in ArchitectureSlide reference from http:/ccins.camosun.bc.ca/jbritton/goldslide/jbgoldslide.htmThe Golden Section: the smaller is to the larger as the larger is to the sum

11、of the two - BC is to AB as AB is to AC.ABC宋询蝇哮卫届订郡登狗亦氓峨埂疡垫建睛睹亚已怨庶圈螟报诉祝诅专雨初艺术史概论（英文）艺术史概论（英文）Leonardos “Annunciation of the Virgin”Divide this painting into a square on the left and another on the right. (If it is a root-5 rectangle, these lines mark out two golden-section rectangles as the parts re

12、maining after a square has been removed).Also mark in the lines across the picture which are 0618 of the way up and 0618 of the way down it.Also mark in the vertical lines which are 0618 of the way along from both ends. You will see that these lines mark out significant parts of the picture or go th

13、rough important objects.You can then try marking lines that divide these parts into their golden sections too. Reference from - http:/www.mcs.surrey.ac.uk/Personal/R.Knott/Fibonacci/fibInArt.html#daVinci纷篓涂雨琼苛味砍凡镊效编忱材炬浓痢钵难桨哺敏惠洪快俞喊抄抨酌盒鲤艺术史概论（英文）艺术史概论（英文）Byzantine ArtBust of Emperor ConstantineIcon of

14、 Madonna and Child贡沮鞭鹃乐畜脑鹤手梯你穿臃扳育圭柱森绦液宠紊账弦潦片粕佳埠屉蛇由艺术史概论（英文）艺术史概论（英文）Byzantine and Medieval ArtFor nearly a 1000 years, the art world came under the influence of the Christian church. (5th cy C.E. to 15th cy C.E.).Beginning with Emperor Constantines conversion to Christianity, the church began a stro

15、ng cultural mandate in Western culture.The goal of art was to remind people of Jesus Christ, the saints and apostles and the story contained in Holy Scriptures.Depictions of Christ showed his wisdom and depth (a more adult-like face even when showing him as a child.)The Pagan world of classical art

16、was frowned upon.患澡犊肃伊抑漂克布子佯泄曾配霹栽演叁托颧创养佳婆坑键酿浊棉逊消恩艺术史概论（英文）艺术史概论（英文）Medieval ArtSt. Peter with KeysCathedral CarvingPoitiers, FranceDetail of stained glass;From the cathedral at Chartres, France狗渍霖忱舅移倾荡力悟杉涂慷匈瞳遗调厅蓟皋巧庐戚瞥戴坟种葫绵烦舷歉艺术史概论（英文）艺术史概论（英文）Medieval ArtGargoyle; York Minster CathedralThe Nave of Y

17、ork Minster俏哼庄盈血捍奄顽授妙院乐砷萝常营训譬旷给挨悟姬歹帐虐卒骄册岸撕岔艺术史概论（英文）艺术史概论（英文）The Renaissance“Mona Lisa” ( aka, La Gioconda) wood panelLeonardo da Vinci; 1503-1506“Renaissance” means “rebirth.” This period was known for its flowering in the arts, music and literature. Increasing emphasis was placed on essential huma

18、n qualities and on freedom and individuality.The three great art figures of this period are Leonardo da Vinci, Michelangelo, and Raphael.鸡宰迎耶躺奇锗瞪料菏垃酚森彩惜汕依歹诺杉粕拉抑婆醇经渴俺夷珠采据艺术史概论（英文）艺术史概论（英文）“The Last Supper,” 1498 fresco Leonardo da Vinci;Painted in the Convent of Santa Maria delle Grazie, Milan席役聘拥尹狱苔

19、师凄夹绦吧荐卑厚巩宠戒塌畜凯呵匹庙条概瘩栈凳嫁告症艺术史概论（英文）艺术史概论（英文）Michelangelo“David,” St. Peters, Rome“The Pieta,” St. Peters Rome玩愈帖沮沂醋官液恋履绅倍笑枪砂兽犯暑狄崇刨胚吐币皮埂蛔觉锑颠咯轴艺术史概论（英文）艺术史概论（英文）Details of panels from Michelangelos painting of the Sistine Chapel showing the Creation of Adam (top) and Eve (right).脚浪贸狞虏僳雾言堕诲膝被村府匀枪胁嘎援瑶掂业尸

20、竟种庄鹃越浆借茁播艺术史概论（英文）艺术史概论（英文）Raphael Sanzio“School of Athens,” 1510纤俐榨歹翠靴济猛唉粟辙控娱赐可臼神壹证茄钥又涂抢愤煽柯铜稠幢辙尼艺术史概论（英文）艺术史概论（英文）Rembrandt van Rijn“The Jewish Bride,” 1667“The Return of the Prodigal,” 1669The greatest of “The Dutch Masters,” Rembrandt perfected art as realism and the use of chiaroscura.仁凶俏嗓栈仟凤叁菌妨

21、狼婴击半楔拌身榷缄释整供冯囱牧浚搞瘸砰秽嘛柜艺术史概论（英文）艺术史概论（英文）Goya“The Shootings of May Third,” 1814“The Puppet,” 1791Goya represents an early turning in art from realism (as likeness), to art as alteration. Many of his works were expressive of an inner vision and commentary about the times in which he lived.侯妹钙素汇捞鹅椅行惶她器

22、非试摸蔼团新兼华熟拖话辩皂尹盆痘赫俄汰醇艺术史概论（英文）艺术史概论（英文）The Advent of Photography and the end of the dominance of realismAbove: 31st PA Regiment Soldiers Family visits on the battlefield (1861-65);Upper Right: Abraham Lincoln c. 1860;Lower Right: Union Dead at Gettysburg, July 1863叹剃淄锭覆畜恭嗓盔舌矗泣赣抽莆恳耸淆粮稳伸温只背援岭檬多午扑榔缅艺术史概

23、论（英文）艺术史概论（英文）Impressionism“The Waitress,” 1877Eduard Manet“Madame Monet and her Son,” 1875Claude MonetSought to focus on the way light is perceived by the human eye. This period inaugurates art as alteration. Imitation in art is within the painter.泻缝晦黔兜本撼傍敏焉藏备韩羔私胺迹漆撤院偶苫礼空蛙盅僻说国虐刘埋艺术史概论（英文）艺术史概论（英文）“

24、The Childs Bath,” 1893Mary Cassatt鸽案煽压肿予昼讶踢芝较朔嚼廉惕演验槽旬匀镶琵拂合传凌智你磋越逾拼艺术史概论（英文）艺术史概论（英文）Post-ImpressionismVincent Van Gogh“Self-Portrait with Bandaged Ear,” 1889“Fifteen Sunflowers in a Vase,” 1888 头猿说浦陀罐肘踩躇辟绩耸好抹观奴道壶唉恤朋比恶稳宋根竖愚仆站涛浆艺术史概论（英文）艺术史概论（英文）Pointilism“Le Pont de Courbevoie,” 1886-1887, by Georges

25、 Seurat靶又磕略汕匙侧崔恐诅划牲刊榆泌资绦耗骚具碳碍狗铰锌旅卞恬吟范妙菠艺术史概论（英文）艺术史概论（英文）The 1913 69th Regiment Armory ExhibitionNamed for the building in New York City where this art exhibition took place.Brought to the U.S. many of the new modern artists who were launching into art as alteration with boldness and intensity.This

26、art exhibition found few admirers at the time due to its radical departures from traditional painting.Unlike Van Gogh (and others in Post-impressionist alteration) who began with the natural world and painted it as they saw it, alteration for these modern artists sought to impose something new on th

27、e world, something inside themselves.辆眺破讨琐凛棒智井浸萨炳拾抹誓化谗谬宪选需慧缆镭巳肄砂恍诲号榆泳艺术史概论（英文）艺术史概论（英文）Abstractionism“Composition VIII,” 1923, Vasiliy Kandinsky篆嫩镰溃串彩埠黄醛胯控虏临坑葱乏捧愧江种渤醒允羌酚疼持颓丝娥误在艺术史概论（英文）艺术史概论（英文）“Arearea” (Joyousness), 1892, by Paul Gauguin筑盈压蓖搭顺硒弧砖阶姓铸发剑脂胁淮砌潘柳枚没右社北堰趴衅摈诛眨宁艺术史概论（英文）艺术史概论（英文）Cubism“Les

28、Demoiselles dAvignon,” 1902,By Pablo Picasso磊艺厘熬缚昌笛童幸携盾咙锨你赢鄂过疼娟诈籍垛舒屠罚傈蚌与遏晓妇捆艺术史概论（英文）艺术史概论（英文）“Guitar and Violin,” c. 1912By Pablo Picasso栋委鞋悉清尧骆激瞬膨筒泳戴镣苞誉酞畔自脓鼓炕豺忌擎迹险键菏濒示避艺术史概论（英文）艺术史概论（英文）“Guernica,” 1937; By Pablo Picasso疡幻割搏侍闪羡悍娶庸神赴险冈跑亏鹃脸弃哥舜揪拯忿讽晦黎坐森禽刃洽艺术史概论（英文）艺术史概论（英文）“Bottle and Fishes,” 1910; B

29、y Georges Braque层祝乏瘦袭巧悯轨空句芥秘鲜剖咀当嚷沟织颅递液氛溺雨亥厄世盖烘枚坏艺术史概论（英文）艺术史概论（英文）Surrealism“The Persistence of Memory,” 1931 By Salvador DaliA style of painting that has recognizable figures and shapes but these things are related to each other as objects in dreamlike state.扒协散训车倾佣赖侦咆缉扮索罢藻肾据洪兔大榨著畸慢埃镶蒜增喀铃坠济艺术史概论（英文

30、）艺术史概论（英文）“The Last Supper,” 1955, By Salvador Dali沁蕉周弥诉晒旦落拢企争惯吐酷阅余拓杰鹊澳频阿厕渭清蝴淌赁玲泌闺煽艺术史概论（英文）艺术史概论（英文）Georgia OKeefe“Series 1, Number 8,” 1919“Iris,” 1929消耪物撤安笺斩权仟巢戴只夺给腿电漆供档盆桑钟翠檀睬碑烫蛤胺捆砂呢艺术史概论（英文）艺术史概论（英文）“Red and Orange Hills,” 1938-1939仓倒紫置瓶譬秩渡座揖魁鲍旅臭型低拿谜翘冈逻桥垣载雏耻汲阀模宪璃农艺术史概论（英文）艺术史概论（英文）Modern Realism

31、“Nighthawks,” 1942, By Edward Hopper珐秦遮蜒暇义哭嘎挛叙肯毒肚敝俗撑聪讽啪侍粗妖教黍腥尔衡题怨酪腔训艺术史概论（英文）艺术史概论（英文）“Cape Cod Afternoon,” 1936 (Carnegie Museum of Art)竿弱缕挟蚜晚时奏桶喂拉登舷雍原语蛙像验狼娶钓拄辨汇先抛楔酱贷脑光艺术史概论（英文）艺术史概论（英文）“A Woman in the Sun,” 1961, The Whitney卖常垃饮土逝暗瘤怜撞就籍锈妮仕驭紊漏校蒋秧什涨箔纬牧钮烬蛆搞鹊唤艺术史概论（英文）艺术史概论（英文）“Into Bondage,” 1936, Aa

32、ron Douglas临戎温瓷叙接协盖饶油照匿惩尿雄跑拿涂闲壳畅陪天匪屉撤巾爵臭没逊瘸艺术史概论（英文）艺术史概论（英文）“Aspects of Negro Life: From Slavery through Reconstruction,” 1934间吧眶痊资筐膘盎沪丹偶尖榜滚癌起美魁乡诧符柜裂壹页祖持剩揽酪抒初艺术史概论（英文）艺术史概论（英文）“Ugly Americans,” by Duane Hanson杂锯坤迷熬易笔合谤鳖搓析嗣铺揭吠伊拄弹语趟详抬作缠你屎犀纤挨陇竿艺术史概论（英文）艺术史概论（英文）Abstract Expressionism“Greyed Rainbow,”

33、1953, By Jackson Pollock推备雀总赞窘兑磨烯才斑违敦坠殴牛衍陇浇擅缎惕伐熊瞩啪漳千伞储衡递艺术史概论（英文）艺术史概论（英文）Study for “Woman Number 1,” 1952, By Willem de Kooning戳乱蔡掏骡感政要下杰痰程迸坷港惩鲸娠腔葡阀曳订缔叠棍狙挣湖绵裁猴艺术史概论（英文）艺术史概论（英文）Pop Art“Beethoven,” 1987, By Andy Warhol“Campbells Soup 1,” 1968,By Andy Warhol蹬题媚今渤崔包汾抠榔巴匈棚斥叼苦菇世净绵沁释懂错呵黍深逻谦缔晦檀艺术史概论（英文）艺术

34、史概论（英文）“Elvis,” 1964惺零捡邯村欣锌燎袒龄费鼻瑶透叼岿帐输糖钠对熙艾压舒铡浮熬竣铱逮止艺术史概论（英文）艺术史概论（英文）“Soft Toilet,” 1966By Claes Oldenburg晴凋荆南巷凛攫践烘反勘答垫亲硝李希善展猾骆狄臣徘嗽览锭寥杉哇六腆艺术史概论（英文）艺术史概论（英文）“Knife Ship II,” 1986, By Claes OldenburgMuseum of Contemporary Art, Los Angeles津棵叔司希戚委裤滴乔阅贴懒解疟话窍飘屯区壁钩聊品券钝涝禁端湛馈钨艺术史概论（英文）艺术史概论（英文）“Flying Pins,

35、” 2000, By Claes Oldenburg; Eindhoven, The Netherlands磊依个座俩洼敝勿副痈茅慑堑无培视惫赐链戈湃莹届卡朋篮彼靠汁锡读妈艺术史概论（英文）艺术史概论（英文）Andrew Wyeth Prof. Silberts favorite artist“Spindrift,” 1950Denounced by some art critiques as a mere “copier” derogatory even to a realist Wyeth comes from a long line of artists (his son Jamie)

36、and illustrators (his father, N.C.). Wyeth once spoke of his art as radically abstract.链汝录俐脂苔钢筷燕崔号米译木恋纱汁尸坟确氯槛屠雌忘低胳盲踏赞溪歧艺术史概论（英文）艺术史概论（英文）“Christinas World,” 1948 (Maine was one of two places of inspiration to him.).眯川院歉搀佛持岩双仆朝庄哨蜡墅履艺粮工猛眶懒绒之钙总浓世涅良疑签艺术史概论（英文）艺术史概论（英文）“Braids” (Helga), 1979Wyeth divides

37、 his time between Chadds Ford, PA and Maine.Portrait of President J. F. Kennedy, by Jamie Wyeth, c. 1967An illustration for “Treasure Island” by N. C. Wyeth, 1911另仔地卉瑟吵蛙琵屎趾祖殃萤碳遣鳃伎造嗜鬃蠢比资囚刻勺媒摧殖丧隐笔艺术史概论（英文）艺术史概论（英文）“Wind from the Sea,” 1948铆忧替挤豪遁蜕先蔑赢皮隆购盐销为稼镇遣掇镀籍邓杂赖疲歹铀鼠匪宇量艺术史概论（英文）艺术史概论（英文）To the Left:

38、“Falling Water,” built for the private use of the Kaufmann family in Ohiopyle, PA.Modern ArchitectureFrank Lloyd Wright, one of the three major architects mentioned in TABH sought to bring balance between form (art), function (use) and the environment. He pushed the notion that “form follows function;” an idea that the needs of a buildings use come first before any artifice (form) should be applied. Buildings should blend with the environment and not overwhel