ART HISTORYmatercb.enschool.org/ourpages/auto/2019/8/13/51253976/1_ArtHistoryIntro.pdf•TIN MUST BE...
Transcript of ART HISTORYmatercb.enschool.org/ourpages/auto/2019/8/13/51253976/1_ArtHistoryIntro.pdf•TIN MUST BE...
ART HISTORY:
AN INTRODUCTION
MS. PEÑATE
… LETS BREAK IT APART …
ART HISTORYPertaining to the present; persisting/continuous events.
Art is visible, tangible, experienced, and
appreciated (or not).
Forms of Art: Fine, Digital, Performance.
Recordings and interpretations of past human actions/events:
Social & Political.
ANCIENT HISTORICAL ITEMS:
(ARTIFACTS)
MANY ITEMS ARE VIEWED AS ART IN PRESENT DAY, AS OPPOSED TO
WHAT THEY WERE INTENDED FOR DURING THEIR OWN TIME
FRAME/PERIOD.
* COINS, JEWELRY, POTTERY & CHINA, BATTLE ARMOR & WEAPONS,
SARCOPHAGI, ARCHITECTURE/STRUCTURES, ETC.
Coins
Jewelry
Pottery, China & Utensils
Weapons & Armor
Sarcophagi
Architecture/Structures
QUESTIONS ART HISTORIANS ASK
• HOW OLD IS IT?
• WHAT IS IT’S STYLE?
• WHAT IS IT’S SUBJECT?
• WHO MADE IT?
• WHO PAID FOR IT?
HOW OLD IS IT?
• CHRONOLOGY- DATING OF OBJECTS AND BUILDINGS.
• PHYSICAL EVIDENCE- MATERIALS USED OR DID NOT USE.
• DOCUMENTARY EVIDENCE- DATED WRITTEN DOCUMENT.
• INTERNAL EVIDENCE- CLUES WITHIN THE WORK: IDENTIFIABLE
PERSON(S), CLOTHING, HAIRSTYLE OR FURNITURE OF A CERTAIN TIME
PERIOD.
• STYLISTIC EVIDENCE- STYLE: AN ARTIST’S DISTINCTIVE MANNER OF
PRODUCING AN OBJECT.
CHRONOLOGY
Relative dating methods are unable to determine the absolute age of an object or event, but can determine the
impossibility of a particular event happening before or after another event of which the absolute date is well
known.
Absolute dating methods, by using absolute referent criteria, mainly include the radiometric dating methods.
PHYSICAL EVIDENCE
• THE BRONZE AGE – STARTED 3200 BC, AND WAS
CHARACTERIZED BY THE WIDESPREAD USE OF
BRONZE.
• TIN MUST BE MINED (MAINLY AS THE TIN
ORE CASSITERITE) AND SMELTED SEPARATELY,
THEN ADDED TO MOLTEN COPPER TO MAKE
BRONZE ALLOY.
DOCUMENTARY EVIDENCE
Evidence that is, or can be, introduced at a trial in the form of documents, as
distinguished from oral testimony.
INTERNAL EVIDENCE
1920’s: Convertible Cars-
Driving gloves and cap
Queen
Elizabeth the
First: Letter B
necklace for
her last name
Boleyn. Reign
from 1558 -
1603
Gare Saint-Lazare
train station:
Mid 1800’s
Travel & Clothing
George Washington:
Presidency from
1789-1797
STYLISTIC EVIDENCE
WHAT IS IT’S STYLE?
• PERIOD STYLE- CHARACTERISTICS OF AN ARTISTIC MANNER FROM A SPECIFIC TIME
AND CULTURE.
• REGIONAL STYLE- A STYLE TIED TO GEOGRAPHY/PROVENANCE: PLACE OR ORIGIN.
• PERSONAL STYLE- DISTINCTIVE MANNER OF AN INDIVIDUAL ARTIST OR ARCHITECT.
* AN ARTIST’S PERSONAL STYLE MAY CHANGE DRAMATICALLY DURING A LONG CAREER.
PERIOD STYLE
Rococo Impressionism Pop Art
REGIONAL STYLE
Greek Pottery Aztec Pottery
PERSONAL STYLE
PABLO PICASSO
PABLO PICASSO
WHAT IS IT’S SUBJECT?
WHAT THE ARTIST IS PRESENTING TO
THE VIEWERS:
STORY/NARRATIVE/SCENE
ACTIONS/TIME AND PLACE
PERSONS INVOLVED
ENVIRONMENT & DETAILS
* IN ABSTRACT ART, THERE IS NO SUBJECT OR
SETTING. THE “SUBJECT” IS THE ARTWORK ITSELF.
PICTORIAL SUBJECTS/CATEGORIES:
RELIGIOUS
HISTORICAL
MYTHOLOGICAL
GENRE (DAILY LIFE)
PORTRAITURE
LANDSCAPE
STILL LIFE
ICONOGRAPHY/SYMBOLS
WHO MADE IT?
IF AN ARTWORK IS NOT SIGNED AND DATED BY ITS CREATOR, ART
HISTORIANS CAN ASSIGN OR ATTRIBUTE AN ARTWORK TO A
SPECIFIC ARTIST BASED OFF OF THE ARTIST’S PERSONAL STYLE.
* SOMETIMES A GROUP OF ARTISTS WORK IN THE SAME STYLE AT
THE SAME TIME AND PLACE. THE GROUPS ARE DESIGNATED AS A
“SCHOOL”. THEIR SIMILARITIES CAN RANGE FROM CHRONOLOGICAL,
STYLISTIC, AND GEOGRAPHIC SIMILARITIES WITHIN THEIR
ARTWORKS.
THE DUTCH SCHOOL (17TH CENTURY)
THE HUDSON RIVER SCHOOL (MID-19TH CENTURY)
WHO PAID FOR IT?
PATRONS – THOSE WHO PAID ARTISTS TO MAKE INDIVIDUAL
WORKS OR EMPLOYED THEM ON A CONTINUOUS BASIS.
* PHARAOHS, EMPERORS, KINGS, CHURCHES, & WEALTHY FAMILIES.
Commissioned by Egyptian Pharaohs Khufu (tallest), Khafre (background),
and Menkaure (front) between 2560-2540 BC.
The Pyramids of Giza
Commissioned by the Roman Emperor Vespasian, in AD 72.
The Colosseum
Commissioned by King Louis XIV. Painted by Hyacinthe Rigaud in 1701.
Portrait of King Louis XIV in Coronation Robes
Commissioned by Pope Julius II. Painted by Michelango between 1508 – 1512.
The Sistine Chapel Ceiling
Commissioned by Daniel Graham, apothecary to King George II of Great Britian. Painted by William Hogarth in 1742.
The Graham Children