艺术史概论(英文)精课件

AnOverviewof

ArtHistoryAlookatmajortrendsandschoolsofartinWesternCultureCompiledbyProf.JohnC.R.SilbertForuseintheHUMA1010course,RMUAnOverviewof

ArtHistoryAlo1PleaseNote:ThefollowingslidepresentationandthevisualsthataccompanyitareintendedforthesoleeducationalpurposesofHUMA1010academicstudy.Assuch,thematerialcontainedhereinisofferedundertherubricofthefairuseclauseofU.S.copyrightlaw.

Anyotherusesforthismaterialareprohibitedwithoutthepermissionoftheinstructorand/oradditionalinquiryintocopyrightsthatmaybeheldbyoutsideparties.--Prof.JohnC.R.SilbertHUMA1010,RMUPleaseNote:Thefollowingslid2AllVisualArtisImitationAristotle’swordforimitationis“mimesis”;whattheactorsoughttodo;torevealthetruthofhumanbeings.ArtasImitationdoesthisintwoessentialways:ArtasLikeness:RembrandtVanRijn(topright)“TheJewishBride,”1667ArtasAlteration:WassilyKandinsky(bottomright)“CompositionVIII,”1923Withineachessentialformthereareanynumberofstyles.Someseektopaintwhatistheretobepainted,whileothersseektopaintwhatisintheartist’smind(andheart).AllVisualArtisImitationAri3ClassicalArt:ArtasLikenessTempleofArtemisinEphesusSarcophagusofwomananddog;LateRomanRomantileportraitGrecianUrnClassicalArt:ArtasLikeness4ClassicalArt--quickfacts:Classicalartisnotedforitsstrongsenseofform,proportionandbalance.Muchoftheartandarchitectureservedtheneedsofthestate.Classicalartatfirstsoughttoidealizethehumanform;reachingforperfection(asthegods/goddesseswereperfect).Notethesculptureonp.147inTABH.MuchoftheartoftheGreekperiodwasattributedtoPhidias,apainter,sculptorandarchitectgreatlyadmiredinthe5thcyB.C.E.Inthelate4thcyB.C.E.,theemphasisshiftedtowardsrealism;withlessdepictionsofidealizedformsreplacedbymorelife-likehumanqualities.Notethesculptureonp.149inTABH.RomanArtoftendepictedlessserene,moredynamicformsthatappealedtohumanpassions.ClassicalArt--quickfacts:C5艺术史概论(英文)[精]课件6艺术史概论(英文)[精]课件7Leonardo’s“AnnunciationoftheVirgin”Dividethispaintingintoasquareontheleftandanotherontheright.(Ifitisaroot-5rectangle,theselinesmarkouttwogolden-sectionrectanglesasthepartsremainingafterasquarehasbeenremoved).Alsomarkinthelinesacrossthepicturewhichare0·618ofthewayupand0·618ofthewaydownit.Alsomarkintheverticallineswhichare0·618ofthewayalongfrombothends.Youwillseethattheselinesmarkoutsignificantpartsofthepictureorgothroughimportantobjects.Youcanthentrymarkinglinesthatdividethesepartsintotheirgoldensectionstoo.Referencefrom--http://www.mcs.surrey.ac.uk/Personal/R.Knott/Fibonacci/fibInArt.html#daVinciLeonardo’s“Annunciationofth8ByzantineArtBustofEmperorConstantineIconofMadonnaandChildByzantineArtBustofEmperorC9ByzantineandMedievalArtFornearlya1000years,theartworldcameundertheinfluenceoftheChristianchurch.(5thcyC.E.to15thcyC.E.).BeginningwithEmperorConstantine’sconversiontoChristianity,thechurchbeganastrongculturalmandateinWesternculture.ThegoalofartwastoremindpeopleofJesusChrist,thesaintsandapostlesandthestorycontainedinHolyScriptures.DepictionsofChristshowedhiswisdomanddepth(amoreadult-likefaceevenwhenshowinghimasachild.)ThePaganworldofclassicalartwasfrownedupon.ByzantineandMedievalArtFor10MedievalArtSt.PeterwithKeysCathedralCarvingPoitiers,FranceDetailofstainedglass;FromthecathedralatChartres,FranceMedievalArtSt.PeterwithKey11MedievalArtGargoyle;YorkMinsterCathedralTheNaveofYorkMinsterMedievalArtGargoyle;YorkMin12TheRenaissance“MonaLisa”(aka,LaGioconda)woodpanelLeonardodaVinci;1503-1506“Renaissance”means“rebirth.”Thisperiodwasknownforitsfloweringinthearts,musicandliterature.Increasingemphasiswasplacedonessentialhumanqualitiesandonfreedomandindividuality.ThethreegreatartfiguresofthisperiodareLeonardodaVinci,Michelangelo,andRaphael.TheRenaissance“MonaLisa”(a13“TheLastSupper,”1498frescoLeonardodaVinci;PaintedintheConventofSantaMariadelleGrazie,Milan“TheLastSupper,”1498fresco14Michelangelo“David,”St.Peter’s,Rome“ThePieta,”St.Peter’sRomeMichelangelo“David,”St.Peter15DetailsofpanelsfromMichelangelo’spaintingoftheSistineChapelshowingtheCreationofAdam(top)andEve(right).DetailsofpanelsfromMichela16RaphaelSanzio“SchoolofAthens,”1510RaphaelSanzio“SchoolofAthen17RembrandtvanRijn“TheJewishBride,”1667“TheReturnoftheProdigal,”1669Thegreatestof“TheDutchMasters,”Rembrandtperfectedartasrealismandtheuseofchiaroscura.RembrandtvanRijn“TheJewish18Goya“TheShootingsofMayThird,”1814“ThePuppet,”1791Goyarepresentsanearlyturninginartfromrealism(aslikeness),toartasalteration.Manyofhisworkswereexpressiveofaninnervisionandcommentaryaboutthetimesinwhichhelived.Goya“TheShootingsofMayThir19TheAdventofPhotographyandtheendofthedominanceofrealismAbove:31stPARegimentSoldier’sFamilyvisitsonthebattlefield(1861-65);UpperRight:AbrahamLincolnc.1860;LowerRight:UnionDeadatGettysburg,July1863TheAdventofPhotographyand20Impressionism“TheWaitress,”1877EduardManet“MadameMonetandherSon,”1875ClaudeMonetSoughttofocusonthewaylightisperceivedbythehumaneye.Thisperiodinauguratesartasalteration.Imitationinartiswithinthepainter.Impressionism“TheWaitress,”121“TheChild’sBath,”1893MaryCassatt“TheChild’sBath,”189322Post-ImpressionismVincentVanGogh“Self-PortraitwithBandagedEar,”1889“FifteenSunflowersinaVase,”1888Post-ImpressionismVincentVan23Pointilism“LePontdeCourbevoie,”1886-1887,byGeorgesSeuratPointilism“LePontdeCourbevo24The191369thRegimentArmoryExhibitionNamedforthebuildinginNewYorkCitywherethisartexhibitiontookplace.BroughttotheU.S.manyofthenewmodernartistswhowerelaunchingintoartasalterationwithboldnessandintensity.Thisartexhibitionfoundfewadmirersatthetimeduetoitsradicaldeparturesfromtraditionalpainting.UnlikeVanGogh(andothersinPost-impressionistalteration)whobeganwiththenaturalworldandpainteditastheysawit,alterationforthesemodernartistssoughttoimposesomethingnewontheworld,somethinginsidethemselves.The191369thRegimentArmory25Abstractionism“CompositionVIII,”1923,VasiliyKandinskyAbstractionism“CompositionVII26“Arearea”(Joyousness),1892,byPaulGauguin“Arearea”(Joyousness),1892,27Cubism“LesDemoisellesd’Avignon,”1902,ByPabloPicassoCubism“LesDemoisellesd’Avign28“GuitarandViolin,”c.1912ByPabloPicasso“GuitarandViolin,”c.191229“Guernica,”1937;ByPabloPicasso“Guernica,”1937;ByPabloPic30“BottleandFishes,”1910;ByGeorgesBraque“BottleandFishes,”1910;By31Surrealism“ThePersistenceofMemory,”1931BySalvadorDaliAstyleofpaintingthathasrecognizablefiguresandshapesbutthesethingsarerelatedtoeachotherasobjectsindreamlikestate.Surrealism“ThePersistenceof32“TheLastSupper,”1955,BySalvadorDali“TheLastSupper,”1955,BySa33GeorgiaO’Keefe“Series1,Number8,”1919“Iris,”1929GeorgiaO’Keefe“Series1,Numb34“RedandOrangeHills,”1938-1939“RedandOrangeHills,”1938-135ModernRealism“Nighthawks,”1942,ByEdwardHopperModernRealism“Nighthawks,”1936“CapeCodAfternoon,”1936(CarnegieMuseumofArt)“CapeCodAfternoon,”1936(Ca37“AWomanintheSun,”1961,TheWhitney“AWomanintheSun,”1961,Th38“IntoBondage,”1936,AaronDouglas“IntoBondage,”1936,AaronDo39“AspectsofNegroLife:FromSlaverythroughReconstruction,”1934“AspectsofNegroLife:FromS40“UglyAmericans,”byDuaneHanson“UglyAmericans,”41AbstractExpressionism“GreyedRainbow,”1953,ByJacksonPollockAbstractExpressionism“Greyed42Studyfor“WomanNumber1,”1952,ByWillemdeKooningStudyfor“WomanNumber1,”1943PopArt“Beethoven,”1987,ByAndyWarhol“Campbell’sSoup1,”1968,ByAndyWarholPopArt“Beethoven,”1987,ByA44“Elvis,”1964“Elvis,”196445“SoftToilet,”1966ByClaesOldenburg“SoftToilet,”196646“KnifeShipII,”1986,ByClaesOldenburgMuseumofContemporaryArt,LosAngeles“KnifeShipII,”1986,ByClae47“FlyingPins,”2000,ByClaesOldenburg;Eindhoven,TheNetherlands“FlyingPins,”2000,ByClaes48AndrewWyeth

–Prof.Silbert’sfavoriteartist“Spindrift,”1950Denouncedbysomeartcritiquesasamere“copier”–derogatoryeventoarealist–Wyethcomesfromalonglineofartists(hissonJamie)andillustrators(hisfather,N.C.).Wyethoncespokeofhisartasradicallyabstract.AndrewWyeth

–Prof.Silbert’49“Christina’sWorld,”1948(Mainewasoneoftwoplacesofinspirationtohim.).“Christina’sWorld,”1948(Mai50“Braids”(Helga),1979WyethdivideshistimebetweenChaddsFord,PAandMaine.PortraitofPresidentJ.F.Kennedy,byJamieWyeth,c.1967Anillustrationfor“TreasureIsland”byN.C.Wyeth,1911“Braids”(Helga),1979Portrait51“WindfromtheSea,”1948“WindfromtheSea,”194852TotheLeft:“FallingWater,”builtfortheprivateuseoftheKaufmannfamilyinOhiopyle,PA.ModernArchitectureFrankLloydWright,oneofthethreemajorarchitectsmentionedinTABHsoughttobringbalancebetweenform(art),function(use)andtheenvironment.Hepushedthenotionthat“formfollowsfunction;”anideathattheneedsofabuilding’susecomefirstbeforeanyartifice(form)shouldbeapplied.Buildingsshouldblendwiththeenvironmentandnotoverwhelmit.Wherenecessary,abuildingshouldshieldthebuilding’suserfromharshandunattractiveoutsideinfluences.TotheLeft:“FallingWater,”53FrankLloydWrightTheGuggenheimMuseum,NewYorkBuiltwiththickwallstoshutouturbannoiseandsuffusedwithindirectlighting,Wrightsoughttocreatea“quietoasis”fortheviewingofotherworksofhumancreativity(modernart).FrankLloydWrightTheGuggenhe54FrankO.GehryTheGuggenheimMuseum;Bilbao,Spain,1997ForGehry,formisparamounttohisarchitecturalvision;avisionthatisuniquelyhis.Thereisnothing“classical”aboutthisstructureandunlikeJohnsonhepaysnohomagetoearlierforms.Hisarchitecturalisinnovativeandcontroversial.FrankO.GehryTheGuggenheimM55PhilipJohnsonPPGPlace;Pittsburgh,PABellTower,CrystalCathedral;GardenGrove,CAJohnsonwasinspiredbyGothicforms(latemedievalchurcharchitecture)andre-invigoratedthemintonewstrikingbuildingdesigns.PhilipJohnsonPPGPlace;Pitts56WeddingattheCrystalCathedralWeddingattheCrystalCathedr57“AmericanGothic,”1930ByGrantWoodAsTABHsays,“Theworldofartbelongstoyou.”“AmericanGothic,”1930AsTABH58AnOverviewof

ArtHistoryAlookatmajortrendsandschoolsofartinWesternCultureCompiledbyProf.JohnC.R.SilbertForuseintheHUMA1010course,RMUAnOverviewof

ArtHistoryAlo59PleaseNote:ThefollowingslidepresentationandthevisualsthataccompanyitareintendedforthesoleeducationalpurposesofHUMA1010academicstudy.Assuch,thematerialcontainedhereinisofferedundertherubricofthefairuseclauseofU.S.copyrightlaw.

Anyotherusesforthismaterialareprohibitedwithoutthepermissionoftheinstructorand/oradditionalinquiryintocopyrightsthatmaybeheldbyoutsideparties.--Prof.JohnC.R.SilbertHUMA1010,RMUPleaseNote:Thefollowingslid60AllVisualArtisImitationAristotle’swordforimitationis“mimesis”;whattheactorsoughttodo;torevealthetruthofhumanbeings.ArtasImitationdoesthisintwoessentialways:ArtasLikeness:RembrandtVanRijn(topright)“TheJewishBride,”1667ArtasAlteration:WassilyKandinsky(bottomright)“CompositionVIII,”1923Withineachessentialformthereareanynumberofstyles.Someseektopaintwhatistheretobepainted,whileothersseektopaintwhatisintheartist’smind(andheart).AllVisualArtisImitationAri61ClassicalArt:ArtasLikenessTempleofArtemisinEphesusSarcophagusofwomananddog;LateRomanRomantileportraitGrecianUrnClassicalArt:ArtasLikeness62ClassicalArt--quickfacts:Classicalartisnotedforitsstrongsenseofform,proportionandbalance.Muchoftheartandarchitectureservedtheneedsofthestate.Classicalartatfirstsoughttoidealizethehumanform;reachingforperfection(asthegods/goddesseswereperfect).Notethesculptureonp.147inTABH.MuchoftheartoftheGreekperiodwasattributedtoPhidias,apainter,sculptorandarchitectgreatlyadmiredinthe5thcyB.C.E.Inthelate4thcyB.C.E.,theemphasisshiftedtowardsrealism;withlessdepictionsofidealizedformsreplacedbymorelife-likehumanqualities.Notethesculptureonp.149inTABH.RomanArtoftendepictedlessserene,moredynamicformsthatappealedtohumanpassions.ClassicalArt--quickfacts:C63艺术史概论(英文)[精]课件64艺术史概论(英文)[精]课件65Leonardo’s“AnnunciationoftheVirgin”Dividethispaintingintoasquareontheleftandanotherontheright.(Ifitisaroot-5rectangle,theselinesmarkouttwogolden-sectionrectanglesasthepartsremainingafterasquarehasbeenremoved).Alsomarkinthelinesacrossthepicturewhichare0·618ofthewayupand0·618ofthewaydownit.Alsomarkintheverticallineswhichare0·618ofthewayalongfrombothends.Youwillseethattheselinesmarkoutsignificantpartsofthepictureorgothroughimportantobjects.Youcanthentrymarkinglinesthatdividethesepartsintotheirgoldensectionstoo.Referencefrom--http://www.mcs.surrey.ac.uk/Personal/R.Knott/Fibonacci/fibInArt.html#daVinciLeonardo’s“Annunciationofth66ByzantineArtBustofEmperorConstantineIconofMadonnaandChildByzantineArtBustofEmperorC67ByzantineandMedievalArtFornearlya1000years,theartworldcameundertheinfluenceoftheChristianchurch.(5thcyC.E.to15thcyC.E.).BeginningwithEmperorConstantine’sconversiontoChristianity,thechurchbeganastrongculturalmandateinWesternculture.ThegoalofartwastoremindpeopleofJesusChrist,thesaintsandapostlesandthestorycontainedinHolyScriptures.DepictionsofChristshowedhiswisdomanddepth(amoreadult-likefaceevenwhenshowinghimasachild.)ThePaganworldofclassicalartwasfrownedupon.ByzantineandMedievalArtFor68MedievalArtSt.PeterwithKeysCathedralCarvingPoitiers,FranceDetailofstainedglass;FromthecathedralatChartres,FranceMedievalArtSt.PeterwithKey69MedievalArtGargoyle;YorkMinsterCathedralTheNaveofYorkMinsterMedievalArtGargoyle;YorkMin70TheRenaissance“MonaLisa”(aka,LaGioconda)woodpanelLeonardodaVinci;1503-1506“Renaissance”means“rebirth.”Thisperiodwasknownforitsfloweringinthearts,musicandliterature.Increasingemphasiswasplacedonessentialhumanqualitiesandonfreedomandindividuality.ThethreegreatartfiguresofthisperiodareLeonardodaVinci,Michelangelo,andRaphael.TheRenaissance“MonaLisa”(a71“TheLastSupper,”1498frescoLeonardodaVinci;PaintedintheConventofSantaMariadelleGrazie,Milan“TheLastSupper,”1498fresco72Michelangelo“David,”St.Peter’s,Rome“ThePieta,”St.Peter’sRomeMichelangelo“David,”St.Peter73DetailsofpanelsfromMichelangelo’spaintingoftheSistineChapelshowingtheCreationofAdam(top)andEve(right).DetailsofpanelsfromMichela74RaphaelSanzio“SchoolofAthens,”1510RaphaelSanzio“SchoolofAthen75RembrandtvanRijn“TheJewishBride,”1667“TheReturnoftheProdigal,”1669Thegreatestof“TheDutchMasters,”Rembrandtperfectedartasrealismandtheuseofchiaroscura.RembrandtvanRijn“TheJewish76Goya“TheShootingsofMayThird,”1814“ThePuppet,”1791Goyarepresentsanearlyturninginartfromrealism(aslikeness),toartasalteration.Manyofhisworkswereexpressiveofaninnervisionandcommentaryaboutthetimesinwhichhelived.Goya“TheShootingsofMayThir77TheAdventofPhotographyandtheendofthedominanceofrealismAbove:31stPARegimentSoldier’sFamilyvisitsonthebattlefield(1861-65);UpperRight:AbrahamLincolnc.1860;LowerRight:UnionDeadatGettysburg,July1863TheAdventofPhotographyand78Impressionism“TheWaitress,”1877EduardManet“MadameMonetandherSon,”1875ClaudeMonetSoughttofocusonthewaylightisperceivedbythehumaneye.Thisperiodinauguratesartasalteration.Imitationinartiswithinthepainter.Impressionism“TheWaitress,”179“TheChild’sBath,”1893MaryCassatt“TheChild’sBath,”189380Post-ImpressionismVincentVanGogh“Self-PortraitwithBandagedEar,”1889“FifteenSunflowersinaVase,”1888Post-ImpressionismVincentVan81Pointilism“LePontdeCourbevoie,”1886-1887,byGeorgesSeuratPointilism“LePontdeCourbevo82The191369thRegimentArmoryExhibitionNamedforthebuildinginNewYorkCitywherethisartexhibitiontookplace.BroughttotheU.S.manyofthenewmodernartistswhowerelaunchingintoartasalterationwithboldnessandintensity.Thisartexhibitionfoundfewadmirersatthetimeduetoitsradicaldeparturesfromtraditionalpainting.UnlikeVanGogh(andothersinPost-impressionistalteration)whobeganwiththenaturalworldandpainteditastheysawit,alterationforthesemodernartistssoughttoimposesomethingnewontheworld,somethinginsidethemselves.The191369thRegimentArmory83Abstractionism“CompositionVIII,”1923,VasiliyKandinskyAbstractionism“CompositionVII84“Arearea”(Joyousness),1892,byPaulGauguin“Arearea”(Joyousness),1892,85Cubism“LesDemoisellesd’Avignon,”1902,ByPabloPicassoCubism“LesDemoisellesd’Avign86“GuitarandViolin,”c.1912ByPabloPicasso“GuitarandViolin,”c.191287“Guernica,”1937;ByPabloPicasso“Guernica,”1937;ByPabloPic88“BottleandFishes,”1910;ByGeorgesBraque“BottleandFishes,”1910;By89Surrealism“ThePersistenceofMemory,”1931BySalvadorDaliAstyleofpaintingthathasrecognizablefiguresandshapesbutthesethingsarerelatedtoeachotherasobjectsindreamlikestate.Surrealism“ThePersistenceof90“TheLastSupper,”1955,BySalvadorDali“TheLastSupper,”1955,BySa91GeorgiaO’Keefe“Series1,Number8,”1919“Iris,”1929GeorgiaO’Keefe“Series1,Numb92“RedandOrangeHills,”1938-1939“RedandOrangeHills,”1938-193ModernRealism“Nighthawks,”1942,ByEdwardHopperModernRealism“Nighthawks,”1994“CapeCodAfternoon,”1936(CarnegieMuseumofArt)“CapeCodAfternoon,”1936(Ca95“AWomanintheSun,”1961,TheWhitney“AWomanintheSun,”1961,Th96“IntoBondage,”1936,AaronDouglas“IntoBondage,”1936,AaronDo97“AspectsofNegroLife:FromSlaverythroughReconstruction,”1934“AspectsofNegroLife:FromS98“UglyAmericans,”byDuaneHanson“UglyAmericans,”99AbstractExpressionism“GreyedRainbow,”1953,ByJacksonPollockAbstractExpressionism“Greyed100Studyfor“WomanNumber1,”1952,ByWillemdeKooningStudyfor“WomanNumber1,”19101PopArt“Beethoven,”1987,ByAndyWarhol“Campbell’sSoup1,”1968,ByAndyWarholPopArt“Beethoven,”1987,ByA102“Elvis,”1964“Elvis,”1964103“SoftToilet,”1966ByClaesOldenburg“SoftToilet,”1966104“KnifeShipII,”1986,ByClaesOldenburgMuseumofContemporaryArt,LosAngeles“KnifeShipII,”1986,ByClae105“FlyingPins,”2000,ByClaesOldenburg;Eindhoven,TheNetherlands“FlyingPins,”2000,ByClaes106AndrewWyeth

–Prof.Silbert’sfavoriteartist“Spindrift,”1950Denouncedbysomeartcritiquesasamere“copier”–derogatoryeventoarealist–Wyethcomesfromalo