Art History 101, 8/23-8/25, Class notes
Art History 101, 8/23-8/25, Class notes AAH 1010
Popular in Survey of Art and Architectural History I
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This 3 page Class Notes was uploaded by Regan Notetaker on Thursday August 25, 2016. The Class Notes belongs to AAH 1010 at Clemson University taught by Beth A. Lauritis in Fall 2016. Since its upload, it has received 130 views. For similar materials see Survey of Art and Architectural History I in Arts and Humanities at Clemson University.
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Date Created: 08/25/16
Why study art history? We are able to view art in a more complex way. Is art a personal expression, decorative, etc? Art is cultural expression. We learn about certain cultures from the art work that is produced. Different cultures create their own reality. The “norm,” or reality is relative-it’s not the same for the other. Prehistory art shares information before the invention of written record. Writing about art: Form-what it looks like Content- what it’s about Formal Analysis- describe the form and what you see Chapter 1 Carpet page from Lindisfarne Gospels c.715-720- line is complicated in this piece, one continuous line. Contour line- continuous line that creates a form Detail- up-close fragment of a work Plane- 2D, flat surface The Education of the Virgin, Georges de la Tour. c. 1650- Sharp lines define the form. Light is the subject, important part of composition. Creates contrast from dark and light which produces volume. The Holy Family, Michelangelo c 1503. Oil and tempera on panel.- Mary is commonly seen in a blue mantel. No. 3/No.13- Mark Rothko, 1949- Abstract painter. Its purpose declares the flatness of the surface, the goal of Abstract Expressionists of this time. Humay and Humayan, Junayd, 1396- Gives a sense of perspective, very flat. The trees and mountains are smaller, suggesting perspective. Madonna of the Goldfinch, Raphael, 1506- Sharp lines make forms. Constructs deep space with the iconography in the forefront. Mary is again seen in a blue mantel. Figures are in triangular position, a very stable form. The figure at the apex is usually most important (Mary). Atmospheric Perspective- atmosphere begins to blur and shrink as it goes further back Mme. Charpentier and Her Children, Renoir, 1878- Painterly qualities- blurred edges. Figures are arranged at a diagonal. From left to right your eye goes up and ends at the mother who is wearing a contrasting garment. Figures are more discreet in comparison to Raphael’s. Hierarchic scale- figures of more importance are larger Doors w. Relief Panels (Genesis) commissioned by Bishop Bernward, 1015 Relief- the degree which something protrudes from its surface High Relief- things are greatly protruding out Longitudinal Section and Plan of abbey church of Saint Michael’s, 1001-31- Plans show exactly how things are proportioned Elevation drawing- non-perspective drawing, eye level view with details Prehistory Before writing, people communicated with drawings, buildings, etc. Paleolithic (Old Stone Age): c. 40,000-9,000 BCE -Nomadic, hunters Neolithic (New Stone Age): c. 8,000-2,300 BCE. Begins in Near East end in Europe 4,000 BCE -Domestication of dogs, dramatic shift Makapansgat face, 3,000,000 BCE- the waterworn pebble was found 20 miles from where the stone was indigenous. Perhaps, someone moved it? Africa is where we find the oldest discoveries. Is this art because it tells us something about a culture? Radio carbon dating is most accurate way to date objects. Animal facing left, from Apollo 11 Cave, Namibia, c. 23,000 BCE, Charcoal on stone- very flat. The profile view is common during this time. It is a simple way of depicting objects. Human with feline head, from Hoholenstein-Stadel, Germany, c. 30,000-28,000 BCE. Mammoth ivory- one foot tall and difficult to carve-very rare at this time. Different ideas for what this could mean. Animals populate this person’s life-could be Shamanistic. More women are depicted than men. Nude Woman (Venus of WIllendorf), Willendorf, Austria, c. 28,000-25,000 BCE. Limestone, 4.5 inches- Ambiguous. The facelessness does not show an individual but an idea. The culture’s idea of women- child bearers, sexualized. Hair is stylized, as in it is reduced to abstraction. It isn’t known what the abstraction is- hair or a bonnet? Small size and great quantity of the figure could mean that it was to be easy to transport and carry with them. Could help them with their own fertility. Improperly called “Venus” when it was not known that there was a goddess of love for this culture. This could attribute to this culture a viewpoint of idealized figure. It could also be read as an object for desire, alluring. Might represent ancestors. Aphrodite of Knidos, Praxiteles. Marble 350-340BCE- Woman Holding a Bison Horn, Laussel, France, ca.25,000-20,000 BCE, limestone, 1’6”- High relief sculpture. Her hand rests on her stomach that draws attention to that area, perhaps represents fertility. In situ- art in its context. Unlink art removed and put in museum or detached from cave wall Two Bison, reliefs in cave at Le Tuc d’Audoubert, France, 15,000-10,000BCE.- very high relief. Clay added on. Each are 2” long. Bison, Detail of a painted ceiling in the cave at Altamira, Spain, ca. 12,000- 111,000BCE. Each bison 5’ long. Shows art is not just decorative. Men/women would go to the depths of the cave to paint. A lot of effort goes into making these. They have to find a way to reach the ceiling, grind up the pigments. These people did not eat bison, therefore it’s speculated they could be worshipped or to use for target practice. Figures just hover in the air. Doesn’t have ground plane- not in their landscape. Bison, Ceiling of a cave at Altamira, Spain, C. 12,500 BCE. Paint on limestone, 8’3” Spotted horses and negative hand imprints, Wall painting in the cave at Pech-Merle, France, Ca. 22,000BCE- Negative painting- hand laid down while paint is blown, revealing hand shape. Similar to a signature. Hall of the Bulls, in the cave at Lascaux, France, 15,000-13,000BCE- Not a herd- bulls are in different directions. Since this is drawn in profile view with and shows both horns and all legs, this is a COMPOSITE view. Rhinoceros, wounded man, a disemboweled bison, painting on wall of Lascaux, 15,000- 13,000BCE. One of the earliest depictions of man, Did he disembowel the bison? Bird on staff- does he want to conjure the animal spirit? Very deep in to the cave. Aurochs, horses, and rhinoceros, wall painting in Chauvet Cave, France. Ca 30,000- 28,000 or 15,000-13,000 BCE- Predates Altamira- the earliest cave painting. The paintings are in more detail than the other. Radio carbon test may have been contaminated and causes much dispute.