艺术史概论英文

艺术史概论英文第1页/共59页PleaseNote:ThefollowingslidepresentationandthevisualsthataccompanyitareintendedforthesoleeducationalpurposesofHUMA1010academicstudy.Assuch,thematerialcontainedhereinisofferedundertherubricofthefairuseclauseofU.S.copyrightlaw.

Anyotherusesforthismaterialareprohibitedwithoutthepermissionoftheinstructorand/oradditionalinquiryintocopyrightsthatmaybeheldbyoutsideparties.--Prof.JohnC.R.SilbertHUMA1010,RMU第2页/共59页AllVisualArtisImitationAristotle’swordforimitationis“mimesis”;whattheactorsoughttodo;torevealthetruthofhumanbeings.ArtasImitationdoesthisintwoessentialways:ArtasLikeness:RembrandtVanRijn(topright)“TheJewishBride,”1667ArtasAlteration:WassilyKandinsky(bottomright)“CompositionVIII,”1923Withineachessentialformthereareanynumberofstyles.Someseektopaintwhatistheretobepainted,whileothersseektopaintwhatisintheartist’smind(andheart).第3页/共59页ClassicalArt:ArtasLikenessTempleofArtemisinEphesusSarcophagusofwomananddog;LateRomanRomantileportraitGrecianUrn第4页/共59页ClassicalArt--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.第5页/共59页Euclid’s“GoldenSection”Thisisamathematicalcalculationofbalancethatstatesthemostpleasingrelationshipbetweentwoconnectingpartsissuchthatthesmalleristothelargerasthelargeristothesumofthetwo.Itisexpressedmathematicallyasaratioof1:1.68.Thegoldensectionfindsitswayintoarchitectureandpaintingintheclassicalandsubsequentartperiods.LeonardodaVinciwassoimpressedbythisprinciplethathecalleditthe“DivineProportion.”第6页/共59页TheParthenon,Acropolis,Greece

Euclid’sGoldenSectioninArchitectureSlidereferencefromhttp://ccins.camosun.bc.ca/~jbritton/goldslide/jbgoldslide.htmTheGoldenSection:thesmalleristothelargerasthelargeristothesumofthetwo--BCistoABasABistoAC.ABC第7页/共59页Leonardo’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#daVinci第8页/共59页ByzantineArtBustofEmperorConstantineIconofMadonnaandChild第9页/共59页ByzantineandMedievalArtFornearlya1000years,theartworldcameundertheinfluenceoftheChristianchurch.(5thcyC.E.to15thcyC.E.).BeginningwithEmperorConstantine’sconversiontoChristianity,thechurchbeganastrongculturalmandateinWesternculture.ThegoalofartwastoremindpeopleofJesusChrist,thesaintsandapostlesandthestorycontainedinHolyScriptures.DepictionsofChristshowedhiswisdomanddepth(amoreadult-likefaceevenwhenshowinghimasachild.)ThePaganworldofclassicalartwasfrownedupon.第10页/共59页MedievalArtSt.PeterwithKeysCathedralCarvingPoitiers,FranceDetailofstainedglass;FromthecathedralatChartres,France第11页/共59页MedievalArtGargoyle;YorkMinsterCathedralTheNaveofYorkMinster第12页/共59页TheRenaissance“MonaLisa”(aka,LaGioconda)woodpanelLeonardodaVinci;1503-1506“Renaissance”means“rebirth.”Thisperiodwasknownforitsfloweringinthearts,musicandliterature.Increasingemphasiswasplacedonessentialhumanqualitiesandonfreedomandindividuality.ThethreegreatartfiguresofthisperiodareLeonardodaVinci,Michelangelo,andRaphael.第13页/共59页“TheLastSupper,”1498frescoLeonardodaVinci;PaintedintheConventofSantaMariadelleGrazie,Milan第14页/共59页Michelangelo“David,”St.Peter’s,Rome“ThePieta,”St.Peter’sRome第15页/共59页DetailsofpanelsfromMichelangelo’spaintingoftheSistineChapelshowingtheCreationofAdam(top)andEve(right).第16页/共59页RaphaelSanzio“SchoolofAthens,”1510第17页/共59页RembrandtvanRijn“TheJewishBride,”1667“TheReturnoftheProdigal,”1669Thegreatestof“TheDutchMasters,”Rembrandtperfectedartasrealismandtheuseofchiaroscura.第18页/共59页Goya“TheShootingsofMayThird,”1814“ThePuppet,”1791Goyarepresentsanearlyturninginartfromrealism(aslikeness),toartasalteration.Manyofhisworkswereexpressiveofaninnervisionandcommentaryaboutthetimesinwhichhelived.第19页/共59页TheAdventofPhotographyandtheendofthedominanceofrealismAbove:31stPARegimentSoldier’sFamilyvisitsonthebattlefield(1861-65);UpperRight:AbrahamLincolnc.1860;LowerRight:UnionDeadatGettysburg,July1863第20页/共59页Impressionism“TheWaitress,”1877EduardManet“MadameMonetandherSon,”1875ClaudeMonetSoughttofocusonthewaylightisperceivedbythehumaneye.Thisperiodinauguratesartasalteration.Imitationinartiswithinthepainter.第21页/共59页“TheChild’sBath,”1893MaryCassatt第22页/共59页Post-ImpressionismVincentVanGogh“Self-PortraitwithBandagedEar,”1889“FifteenSunflowersinaVase,”1888第23页/共59页Pointilism“LePontdeCourbevoie,”1886-1887,byGeorgesSeurat第24页/共59页The191369thRegimentArmoryExhibitionNamedforthebuildinginNewYorkCitywherethisartexhibitiontookplace.BroughttotheU.S.manyofthenewmodernartistswhowerelaunchingintoartasalterationwithboldnessandintensity.Thisartexhibitionfoundfewadmirersatthetimeduetoitsradicaldeparturesfromtraditionalpainting.UnlikeVanGogh(andothersinPost-impressionistalteration)whobeganwiththenaturalworldandpainteditastheysawit,alterationforthesemodernartistssoughttoimposesomethingnewontheworld,somethinginsidethemselves.第25页/共59页Abstractionism“CompositionVIII,”1923,VasiliyKandinsky第26页/共59页“Arearea”(Joyousness),1892,byPaulGauguin第27页/共59页Cubism“LesDemoisellesd’Avignon,”1902,ByPabloPicasso第28页/共59页“GuitarandViolin,”c.1912ByPabloPicasso第29页/共59页“Guernica,”1937;ByPabloPicasso第30页/共59页“BottleandFishes,”1910;ByGeorgesBraque第31页/共59页Surrealism“ThePersistenceofMemory,”1931BySalvadorDaliAstyleofpaintingthathasrecognizablefiguresandshapesbutthesethingsarerelatedtoeachotherasobjectsindreamlikestate.第32页/共59页“TheLastSupper,”1955,BySalvadorDali第33页/共59页GeorgiaO’Keefe“Series1,Number8,”1919“Iris,”1929第34页/共59页“RedandOrangeHills,”1938-1939第35页/共59页ModernRealism“Nighthawks,”1942,ByEdwardHopper第36页/共59页“CapeCodAfternoon,”1936(CarnegieMuseumofArt)第37页/共59页“AWomanintheSun,”1961,TheWhitney第38页/共59页“IntoBondage,”1936,AaronDouglas第39页/共59页“AspectsofNegroLife:FromSlaverythroughReconstruction,”1934第40页/共59页“UglyAmericans,”byDuaneHanson第41页/共59页AbstractExpressionism“GreyedRainbow,”1953,ByJacksonPollock第42页/共59页Studyfor“WomanNumber1,”1952,ByWillemdeKooning第43页/共59页PopArt“Beethoven,”1987,ByAndyWarhol“Campbell’sSoup1,”1968,ByAndyWarhol第44页/共59页“Elvis,”1964第45页/共59页“SoftToilet,”1966ByClaesOldenburg第46页/共59页“KnifeShipII,”1986,ByClaesOldenburgMuseumofContemporaryArt,LosAngeles第47页/共59页“FlyingPins,”2000,ByClaesOldenburg;Eindhoven,TheNetherlands第48页/共59页AndrewWyeth

–Prof.Silbert’sfavoriteartist“Spindrift,”1950Denouncedbysomeartcritiquesasamere“copier”–derogatoryeventoarealist–Wyethcomesfromalonglineofartists(hissonJamie)andillustrators(hisfather,N.C.).Wyethoncespokeofhisartasradicallyabstract.第49页/共59页“Christina’sWorld,”1948(Mainewasoneoftwoplacesofinspirationtohim.).第50页/共59页“Braids”(Helga),1979WyethdivideshistimebetweenChaddsFord,PAandMaine.PortraitofPresidentJ.F.Kennedy,byJamieWyeth,c.1967Anillustrationfor“TreasureIsland”byN.C.Wyeth,1911第51页/共59页“WindfromtheSea,”1948第52页/共59页TotheLeft:“FallingWater,”builtfortheprivateuseoftheKaufmannfamilyinOhiopyle,PA.ModernArchitectureFrankLloydWright,oneofthethreemajorarchitectsmentionedinTABHsoughttobringbalancebetweenform(art),function(use)andtheenvironment.Hepushedthenotionthat“formfollowsfunction;”anideathattheneedsofabuilding’susecomefirstbeforeanyartifice(form)shouldbeapplied.Buildingsshouldblendwiththeenvironmentandnotoverwhelmit.Wherenecessary,a