Post on 14-Nov-2014
description
A STUDY OF OBJECTS IN THEIR CONTEXTS IN ORDER TO UNDERSTAND THE WORLDVIEW, THE
CULTURE, THE HISTORY OF A PARTICULAR PERIOD, REGION, ARTIST, AND/OR PATRON
AN ARDUOUS SURVEY OF OBJECTS, RELIGIOUS VIEWS, ICONOGRAPHY, POLITICAL AGENDAS, AND
SCIENTIFIC DISCOVERIES
The Discipline of Art History
We may only be able to understand the objective of a piece by understanding the
culture in which it was made.
The magic word is CONTEXT.
“Art history takes every object as a symptom of what produced it…In the hands of the art historian, the work seems to pass from opacity to transparency; from silence to speech.”
--Donald Preziosi
The definition of “Art” changes
Until the last 100 years, people commissioned works that would show an identified public a desired identity.
“Art” had an agenda. In many periods, artists were more like construction workers than divinely inspired geniuses.
So, Art History is often the study of patrons’ presented identities.
It doesn’t matter what WE think about past works; we study these works to see how PATRONS wanted to be viewed.
The predominant questions are “How do we get
from one period to another?”
And why do different periods privilege different images and
styles?
Television, Movies, Advertising,, Videos,
Cartoons, etc…
What are we
expected to know
and recognize from
the past in our own
culture today?
And what are we expected to know and
recognize from the past
in our own culture today?
Art History is Interdisciplinary
In order to achieve that goal, Art History studies the relationship a work has to the culture in which it was made by exploring:
Contemporary Historical Events Literature Philosophy
Scientific Discoveries Music
So we study history and culture to understand people’s objects.
ART HISTORY REQUIRES A NEW VOCABULARY SURROUNDING:
CHRONOLOGYSTYLE
SUBJECTFORMAL ANALYSIS
AND BIAS
The Language of Art History
Chronology
When was the work created?
What other facets of culture—music, philosophy, politics, literature, religion, science—influenced the creation of the work? What can the piece tell us about the status of women
in a particular year? What did people believe the role of the gods were in
a particular generation?
Artist and Patron
Who created the work? What is her/his story?◦ Biographical Analysis
Who commissioned/purchased the work? For what agenda?◦ Political Propaganda?◦ To promote a reputation of wealth or power?◦ To sustain life after death?◦ Criticism of respective culture◦ Self-expression
What other facets of culture—music, philosophy, politics, literature, religion, science—influenced the commissioning of the work?
Style
Period Style—those characteristics particular to a specific time and a specific culture◦ Greco-Roman◦ Islamic
Regional—those characteristics particular to a specific provenance◦ Egyptian◦ Mesoamerican
Personal Style—those characteristics particular to an individual artist and his/her techniques MICHELANGELO as different from CARAVAGGIO In 101 we will know fewer artists than in 102
How are these styles determined by the cultures in which they arise?
What stylistic clues help us recognize these regions or periods?
EGYPT: Upright pose, Diorite material, eternally youthful visage, Horus on Neck
ANCIENT GREECE: Marble, Contrapposto, Nudity,
rational proportions
Subject
Iconography—the writing of images VISUAL CONTENT SYMBOLS ATTRIBUTES PERSONIFICATIONS
Helps us “read” the image presented
HINT: Don’t Ignore the Obvious.
What iconography helps us recognize this subject?
SUBJECT: Maesta
ICNOGRAPHY:
Man-Child on her Lap (Jesus)
Throne
Surrounded by Angels
Red and Blue Robes
Mantle
Halo
Inscription below (but most people would have been illiterate)
Formal Analysis
These elements will often help us understand why we react to a particular piece the way we do
CompositionMedium/TechniqueLine, Color, TextureMass, VolumePerspective
Linear, Atmospheric Perspective and ForeshorteningProportion/Disproportion
Hierarchy of Scale
Bias
How we interpret meaning is directly influenced by how we identify ourselves and what we (unconsciously) assume about others◦ Gender identity◦ Age◦ Ethnicity◦ Socio-Economic Class◦ Education◦ Religious Creed◦ Sexual Orientation
Being aware of our biases (we all have many), we can be more informed about what we see
REMEMBER, bias is neither good nor bad; it just is.
Te Pehi Kupe, Self Portrait , 1826
John Sylvester, Portrait of Te Pehi Kupe, 1826
Which is the “correct” portrait?
It depends on what we privilege--self-identification or « naturalism. »
IN SUMMARY
Art History is an uncovering of historical changes as seen in works of art
Art History is interdisciplinary
We are going to use the tools of: Chronology Artist and Patron Style Iconography Formal Analysis
And we are going to be as conscious as we can of our biases
A STUDY OF OBJECTS IN THEIR CONTEXTS IN ORDER TO UNDERSTAND THE WORLDVIEW, THE
CULTURE, THE HISTORY OF A PARTICULAR PERIOD, REGION, ARTIST, AND/OR PATRON
AN ARDUOUS SURVEY OF OBJECTS, RELIGIOUS VIEWS, ICONOGRAPHY, POLITICAL AGENDAS, AND
SCIENTIFIC DISCOVERIES
The Discipline of Art History