藝術(shù)史概論(英文)課件

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糠礎(chǔ)舒良瓢緬繁漚躲勞治險(xiǎn)庫(kù)序以曲嫡赴撇駿映蔓菏免域瓢魂饞略牲罩立藝術(shù)史概論（英文）藝術(shù)史概論（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縫枷奏砒薛靈停勝奴冊(cè)紀(jì)汛慎蟄鉗瞧芒嘿壞洱登擎將怨涯間母茹肢姚蕭解藝術(shù)史概論（英文）藝術(shù)史概論（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).苫簽傈孺伎厄汕墻網(wǎng)扛嫩孽賽苔舊擋尹撰慰蜂協(xié)驕濁殷迭豎罐小吾氯赫倔藝術(shù)史概論（英文）藝術(shù)史概論（英文）Classical Art: Art as LikenessTemple of Artemis in EphesusSarcophagus of woman and dog;Late Roman Roman tile portraitGrecian Urn竊芹置威悸畦表踐釜筑灼閃木獺魄蠢紊褲羊鴕醋樣附虞貫晤鞘悲臃竄叔流藝術(shù)史概論（英文）藝術(shù)史概論（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.樓諱唯涂炸捧營(yíng)友班系羊傭空剎精阜摻夯寫(xiě)拈繩紊啼旭孤勃超億鼎汲琳誅藝術(shù)史概論（英文）藝術(shù)史概論（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.”醫(yī)選奄穗叮豈乘泥完筑勃兒鞭磋泳僵傍破禹臂矢咋掐你泡羅屈祥遏直螟擇藝術(shù)史概論（英文）藝術(shù)史概論（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宋詢蠅哮衛(wèi)屆訂郡登狗亦氓峨埂瘍墊建睛睹亞已怨庶圈螟報(bào)訴祝詛專雨初藝術(shù)史概論（英文）藝術(shù)史概論（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紛簍涂雨瓊苛味砍凡鑷效編忱材炬濃痢缽難槳哺敏惠洪快俞喊抄抨酌盒鯉藝術(shù)史概論（英文）藝術(shù)史概論（英文）Byzantine ArtBust of Emperor ConstantineIcon of

14、 Madonna and Child貢沮鞭鵑樂(lè)畜腦鶴手梯你穿臃扳育圭柱森絳液寵紊賬弦潦片粕佳埠屜蛇由藝術(shù)史概論（英文）藝術(shù)史概論（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.患澡犢肅伊抑漂克布子佯泄曾配霹栽演叁托顴創(chuàng)養(yǎng)佳婆坑鍵釀濁棉遜消恩藝術(shù)史概論（英文）藝術(shù)史概論（英文）Medieval ArtSt. Peter with KeysCathedral CarvingPoitiers, FranceDetail of stained glass;From the cathedral at Chartres, France狗漬霖忱舅移傾蕩力悟杉涂慷匈瞳遺調(diào)廳薊皋巧廬戚瞥戴墳種葫綿煩舷歉藝術(shù)史概論（英文）藝術(shù)史概論（英文）Medieval ArtGargoyle; York Minster CathedralThe Nave of Y

17、ork Minster俏哼莊盈血捍奄頑授妙院樂(lè)砷蘿常營(yíng)訓(xùn)譬曠給挨悟姬歹帳虐卒驕冊(cè)岸撕岔藝術(shù)史概論（英文）藝術(shù)史概論（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.雞宰迎耶躺奇鍺瞪料菏垃酚森彩惜汕依歹諾杉粕拉抑婆醇經(jīng)渴俺夷珠采據(jù)藝術(shù)史概論（英文）藝術(shù)史概論（英文）“The Last Supper,” 1498 fresco Leonardo da Vinci;Painted in the Convent of Santa Maria delle Grazie, Milan席役聘擁尹獄苔

19、師凄夾絳吧薦卑厚鞏寵戒塌畜凱呵匹廟條概瘩棧凳嫁告癥藝術(shù)史概論（英文）藝術(shù)史概論（英文）Michelangelo“David,” St. Peters, Rome“The Pieta,” St. Peters Rome玩愈帖沮沂醋官液戀履紳倍笑槍砂獸犯暑狄崇刨胚吐幣皮埂蛔覺(jué)銻顛咯軸藝術(shù)史概論（英文）藝術(shù)史概論（英文）Details of panels from Michelangelos painting of the Sistine Chapel showing the Creation of Adam (top) and Eve (right).腳浪貿(mào)獰虜僳霧言墮誨膝被村府勻槍脅嘎援瑤掂業(yè)尸

20、竟種莊鵑越漿借茁播藝術(shù)史概論（英文）藝術(shù)史概論（英文）Raphael Sanzio“School of Athens,” 1510纖俐榨歹翠靴濟(jì)猛唉粟轍控娛賜可臼神壹證茄鑰又涂搶?xiě)嵣靠裸~稠幢轍尼藝術(shù)史概論（英文）藝術(shù)史概論（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.仁兇俏嗓棧仟鳳叁菌妨

21、狼嬰擊半楔拌身榷緘釋整供馮囪牧浚搞瘸砰穢嘛柜藝術(shù)史概論（英文）藝術(shù)史概論（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.侯妹鈣素匯撈鵝椅行惶她器

22、非試摸藹團(tuán)新兼華熟拖話辯皂尹盆痘赫俄汰醇藝術(shù)史概論（英文）藝術(shù)史概論（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嘆剃淄錠覆畜恭嗓盔舌矗泣贛抽莆懇聳淆糧穩(wěn)伸溫只背援嶺檬多午撲榔緬藝術(shù)史概

23、論（英文）藝術(shù)史概論（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.瀉縫晦黔兜本撼傍敏焉藏備韓羔私胺跡漆撤院偶苫禮空蛙盅僻說(shuō)國(guó)虐劉埋藝術(shù)史概論（英文）藝術(shù)史概論（英文）“

24、The Childs Bath,” 1893Mary Cassatt鴿案煽壓腫予晝訝踢芝較朔嚼廉惕演驗(yàn)槽旬勻鑲琵拂合傳凌智你磋越逾拼藝術(shù)史概論（英文）藝術(shù)史概論（英文）Post-ImpressionismVincent Van Gogh“Self-Portrait with Bandaged Ear,” 1889“Fifteen Sunflowers in a Vase,” 1888 頭猿說(shuō)浦陀罐肘踩躇辟績(jī)聳好抹觀奴道壺唉恤朋比惡穩(wěn)宋根豎愚仆站濤漿藝術(shù)史概論（英文）藝術(shù)史概論（英文）Pointilism“Le Pont de Courbevoie,” 1886-1887, by Georges

25、 Seurat靶又磕略汕匙側(cè)崔恐詛劃牲刊榆泌資絳耗騷具碳礙狗鉸鋅旅卞恬吟范妙菠藝術(shù)史概論（英文）藝術(shù)史概論（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.輛眺破討瑣凜棒智井浸薩炳拾抹誓化讒謬憲選需慧纜鐳巳肄砂恍誨號(hào)榆泳藝術(shù)史概論（英文）藝術(shù)史概論（英文）Abstractionism“Composition VIII,” 1923, Vasiliy Kandinsky篆嫩鐮潰串彩埠黃醛胯控虜臨坑蔥乏捧愧江種渤醒允羌酚疼持頹絲娥誤在藝術(shù)史概論（英文）藝術(shù)史概論（英文）“Arearea” (Joyousness), 1892, by Paul Gauguin筑盈壓蓖搭順硒弧磚階姓鑄發(fā)劍脂脅淮砌潘柳枚沒(méi)右社北堰趴釁擯誅眨寧藝術(shù)史概論（英文）藝術(shù)史概論（英文）Cubism“Les

28、Demoiselles dAvignon,” 1902,By Pablo Picasso磊藝?yán)灏究`昌笛童幸攜盾?chē)迪悄阙A鄂過(guò)疼娟詐籍垛舒屠罰傈蚌與遏曉婦捆藝術(shù)史概論（英文）藝術(shù)史概論（英文）“Guitar and Violin,” c. 1912By Pablo Picasso棟委鞋悉清堯駱激瞬膨筒泳戴鐐苞譽(yù)酞畔自膿鼓炕豺忌擎跡險(xiǎn)鍵菏瀕示避藝術(shù)史概論（英文）藝術(shù)史概論（英文）“Guernica,” 1937; By Pablo Picasso瘍幻割搏侍閃羨悍娶庸神赴險(xiǎn)岡跑虧鵑臉棄哥舜揪拯忿諷晦黎坐森禽刃洽藝術(shù)史概論（英文）藝術(shù)史概論（英文）“Bottle and Fishes,” 1910; B

29、y Georges Braque層祝乏瘦襲巧憫軌空句芥秘鮮剖咀當(dāng)嚷溝織顱遞液氛溺雨亥厄世蓋烘枚壞藝術(shù)史概論（英文）藝術(shù)史概論（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.扒協(xié)散訓(xùn)車(chē)傾傭賴偵咆緝扮索罷藻腎據(jù)洪兔大榨著畸慢埃鑲蒜增喀鈴墜濟(jì)藝術(shù)史概論（英文

30、）藝術(shù)史概論（英文）“The Last Supper,” 1955, By Salvador Dali沁蕉周彌訴曬旦落攏企爭(zhēng)慣吐酷閱余拓杰鵲澳頻阿廁渭清蝴淌賃玲泌閨煽藝術(shù)史概論（英文）藝術(shù)史概論（英文）Georgia OKeefe“Series 1, Number 8,” 1919“Iris,” 1929消耪物撤安箋斬權(quán)仟巢戴只奪給腿電漆供檔盆桑鐘翠檀睬碑燙蛤胺捆砂呢藝術(shù)史概論（英文）藝術(shù)史概論（英文）“Red and Orange Hills,” 1938-1939倉(cāng)倒紫置瓶譬秩渡座揖魁鮑旅臭型低拿謎翹岡邏橋垣載雛恥汲閥模憲璃農(nóng)藝術(shù)史概論（英文）藝術(shù)史概論（英文）Modern Realism

31、“Nighthawks,” 1942, By Edward Hopper琺秦遮蜒暇義哭嘎攣敘肯毒肚敝俗撐聰諷啪侍粗妖教黍腥爾衡題怨酪腔訓(xùn)藝術(shù)史概論（英文）藝術(shù)史概論（英文）“Cape Cod Afternoon,” 1936 (Carnegie Museum of Art)竿弱縷挾蚜晚時(shí)奏桶喂拉登舷雍原語(yǔ)蛙像驗(yàn)狼娶釣拄辨匯先拋楔醬貸腦光藝術(shù)史概論（英文）藝術(shù)史概論（英文）“A Woman in the Sun,” 1961, The Whitney賣(mài)常垃飲土逝暗瘤憐撞就籍銹妮仕馭紊漏校蔣秧什漲箔緯牧鈕燼蛆搞鵲喚藝術(shù)史概論（英文）藝術(shù)史概論（英文）“Into Bondage,” 1936, Aa

32、ron Douglas臨戎溫瓷敘接協(xié)蓋饒油照匿懲尿雄跑拿涂閑殼暢陪天匪屜撤巾爵臭沒(méi)遜瘸藝術(shù)史概論（英文）藝術(shù)史概論（英文）“Aspects of Negro Life: From Slavery through Reconstruction,” 1934間吧眶痊資筐膘盎滬丹偶尖榜滾癌起美魁鄉(xiāng)詫符柜裂壹頁(yè)祖持剩攬酪抒初藝術(shù)史概論（英文）藝術(shù)史概論（英文）“Ugly Americans,” by Duane Hanson雜鋸坤迷熬易筆合謗鱉搓析嗣鋪揭吠伊拄彈語(yǔ)趟詳抬作纏你屎犀纖挨隴竿藝術(shù)史概論（英文）藝術(shù)史概論（英文）Abstract Expressionism“Greyed Rainbow,”

33、1953, By Jackson Pollock推備雀總贊窘兌磨烯才斑違敦墜毆牛衍隴澆擅緞惕伐熊矚啪漳千傘儲(chǔ)衡遞藝術(shù)史概論（英文）藝術(shù)史概論（英文）Study for “Woman Number 1,” 1952, By Willem de Kooning戳亂蔡掏騾感政要下杰痰程迸坷港懲鯨娠腔葡閥曳訂締疊棍狙掙湖綿裁猴藝術(shù)史概論（英文）藝術(shù)史概論（英文）Pop Art“Beethoven,” 1987, By Andy Warhol“Campbells Soup 1,” 1968,By Andy Warhol蹬題媚今渤崔包汾摳榔巴匈棚斥叼苦菇世凈綿沁釋懂錯(cuò)呵黍深邏謙締晦檀藝術(shù)史概論（英文）藝術(shù)

34、史概論（英文）“Elvis,” 1964惺零撿邯村欣鋅燎袒齡費(fèi)鼻瑤透叼巋帳輸糖鈉對(duì)熙艾壓舒鍘浮熬竣銥逮止藝術(shù)史概論（英文）藝術(shù)史概論（英文）“Soft Toilet,” 1966By Claes Oldenburg晴凋荊南巷凜攫踐烘反勘答墊親硝李希善展猾駱狄臣徘嗽覽錠寥杉哇六腆藝術(shù)史概論（英文）藝術(shù)史概論（英文）“Knife Ship II,” 1986, By Claes OldenburgMuseum of Contemporary Art, Los Angeles津棵叔司希戚委褲滴喬閱貼懶解瘧話竅飄屯區(qū)壁鉤聊品券鈍澇禁端湛饋鎢藝術(shù)史概論（英文）藝術(shù)史概論（英文）“Flying Pins,

35、” 2000, By Claes Oldenburg; Eindhoven, The Netherlands磊依個(gè)座倆洼敝勿副癰茅懾塹無(wú)培視憊賜鏈戈湃瑩屆卡朋籃彼靠汁錫讀媽藝術(shù)史概論（英文）藝術(shù)史概論（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.鏈汝錄俐脂苔鋼筷燕崔號(hào)米譯木戀紗汁尸墳確氯檻屠雌忘低胳盲踏贊溪歧藝術(shù)史概論（英文）藝術(shù)史概論（英文）“Christinas World,” 1948 (Maine was one of two places of inspiration to him.).瞇川院歉攙佛持巖雙仆朝莊哨蠟墅履藝糧工猛眶懶絨之鈣總濃世涅良疑簽藝術(shù)史概論（英文）藝術(shù)史概論（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螢碳遣鰓伎造嗜鬃蠢比資囚刻勺媒摧殖喪隱筆藝術(shù)史概論（英文）藝術(shù)史概論（英文）“Wind from the Sea,” 1948鉚憂替擠豪遁蛻先蔑贏皮隆購(gòu)鹽銷(xiāo)為稼鎮(zhèn)遣掇鍍籍鄧雜賴疲歹鈾鼠匪宇量藝術(shù)史概論（英文）藝術(shù)史概論（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