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Overview of Art History

Published by Kathleen Lynn Cook Modified over 8 years ago

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Presentation on theme: "Overview of Art History"— Presentation transcript:

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Ten tips for giving effective art history presentations

The PowerPoint presentation is a standard way of sharing academic research in the art history field.  Presentations are given at professional conferences, academic talks, and everyday classes at graduate and undergraduate college levels.  Topics in art history will almost always be heavily visual, so it is important to know how word and image go together to create powerful presentations.

Generally speaking, art history presentations are based upon academic papers that have already been written.  The presenter stands up front and reads from a script while flipping through individual slides. The presentation can last from about 5 minutes to 45 minutes, but most of them will likely be around 20 minutes. There may then be a few minutes for questions at the end.

So how do you create an effective art history presentation?  Here are ten tips to help guide you.

1. Have a special script ready

You should not read your academic paper verbatim. Rather, prepare a special script based on your paper and cut out non-essential parts so that you can fit it inside the time limits.  Edit sentences which do not flow easily when spoken.  You’d be surprised to find that words written for an academic paper do not always sound pleasant to the ears when spoken to an audience.

2. Engage your audience

Even though you will be reading your presentation from a script, make sure to look up at your audience frequently.  Insert pauses in your delivery from time to time, and avoid rambling on at the same speed through the entire presentation.  When appropriate, you may want to depart from your script and give ad-libbed explanations for certain slides, such as maps or other images that are difficult to understand.  This breaks up any monotony that may have developed and helps to draw the audience back into your discussion.

3. Know how slides and script interact

If your presentation is heavily visual, let the slides lead the way, and don’t get caught up in too much theory that departs from the images you are showing.  You may want to modify your academic paper enough so that what you say corresponds to the image on the screen.  In presentations which are not so reliant on images, you may want to show a blank slide when you are discussing something which is theoretical for which you have no corresponding slide.  This shifts the audience’s attention away from the screen and directly on to you, the speaker.  Just don’t use this too often, and don’t end your presentation on a blank slide.

4. Organize your slides well

You will want to spend roughly the same time per each slide, and you will want to keep the time per slide somewhat limited.  In a 20 minute presentation, 2-3 minutes max is fine.  Longer than that may make your audience drift off.  A slide per minute is also acceptable, but ten seconds on a slide is probably too little for your viewers to see and understand what’s on the screen.

5. Select quality images

Whichever kind of image you use – maps, artifacts, old photos, etc. – try to get the best quality image you can.  Although this is not the time for creative photography show-and-tell, presenting images which give some visual delight will make a bigger impact on your audience.  With this in mind, use images which are large on the screen in terms of pixels.  Don’t use images that overly small, and don’t try to resize small images to make them larger.  That can lead to pixelation, which makes for blurry images and a poor visual experience.

6. Black on back, and simple is good

I have found that a solid black background is the best for viewing images.  Also, avoid using fancy transitions between slides, such as the “fly in” or “fly out”, since they can get distracting.  Use a simple font that is legible from a distance, and use the same font throughout your slides.

7. Limit your text on screen

I have seen this done incorrectly even at high-level presentations, and I don’t like it.  Don’t include a bunch of text on the screen (e.g. a passage from a text) unless you will be reading that text out loud to your audience.  The audience will naturally try to read the text if you show it on a slide, and so if you’re making some other spoken point at the same time, your audience will tune out what you’re saying.

8. Less is more

If your time limit is 20 minutes for the presentation, you will want to practice so that you can do it in 18 minutes.  Why is this?  It’s what I like to call the “Magic Two Minutes”.  These are the mysterious two minutes that somehow find their way into your actual presentation that weren’t there when you practiced.  In other words, your actual presentation may very well take longer than it took during rehearsal.  During your live presentation, you might be a bit nervous, you might have a problem with a slide, or you might take a bit more time to point to something on a slide.  The last thing you want to do is to rush through a presentation by speeding up your delivery, so instead shorten your presentation in advance.

9. Get your timing down

You don’t want to go over your allotted time.  If you are given 20 minutes for a presentation, stick to it.  In professional conferences which are tightly scheduled, going over your allotted time may throw all the subsequently-scheduled presentations off, which is not a nice thing to do.  A good idea is to keep little time annotations on your script so that you can easily tell how well you’re doing.  If your presentation needs to be under 20 minutes and you have five pages of script to read, you may want to write “4:oo” at the bottom of page 1, “7:30” at the bottom of page 2, “11:30” at the bottom of page 3, and so forth.  Then, when it comes time to give your presentation, simply start a timer (use your watch or phone) when you begin, and by minute 4:00, know that you need to be at the bottom of page 1.  By the 7:30 mark on the timer, you need to have reached the bottom of page 2, and so forth.  Of course, you can only know what time annotations to use if you have already practiced your presentation in advance and finished it under the 20-minute limit while keeping track of your pace.  This leads us to the all-important last tip, which is…

10. Practice

Some practice is needed for any type of presentation.  The more important the presentation is, the more crucial the practice becomes.  For professional conferences, you should practice your script quite a few times and to keep making adjustments to get your timing down.  Read your presentation out loud, to yourself, or preferably to someone else.  Have someone else monitor you for the times you say “um”, slouch over, or tap your pen against the table/podium.  These are small things that can add up to give a bad impression, so you should eliminate these through practicing your presentation multiple times.

The main goal of your presentation is to communicate your ideas clearly to others.  By using these ten tips for giving art history presentations, you can effectively convey your ideas in a professional, polished way.

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History of Art Major for College: Baroque Art

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Art History timeline powerpoint with images

Subject: Art and design

Age range: 14-16

Resource type: Visual aid/Display

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30 January 2023

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A 60 slide powerpoint covering a timeline of Art history from Medieval Art through to the modern day. Each slide has images and names of some of the main artists from each Art movement.

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Art History

Oct 16, 2014

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Art History. Chapter 3 ArtTalk Textbook. What is art history?. Art history is the record of art from past to present Ever since there have been human beings, there has been art – paintings, drawings, sculptures, and decorative objects.

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Art History Chapter 3 ArtTalk Textbook

What is art history? • Art history is the record of art from past to present • Ever since there have been human beings, there has been art – paintings, drawings, sculptures, and decorative objects. • Art tells us what people in the past were like – what their culture was like - their beliefs, ideas, and the way they lived.

How to study art history • There is a four step system similar to the four steps used in art criticism. • Description • Analysis • Interpretation • Judgment • However, this time, each of these steps is approached differently. Mary Cassatt. Reine Lefevre and Margot. c. 1902. Pastel on paper. The Armand Hammer Museum of Art and Cultural Center, Los Angeles, CA, USA.

Description • In the description step, you are collecting facts about the artwork. • If you are looking at the actual artwork, you would look for the artist’s signature and the date of the work. • If you are looking at a picture of the artwork, you look at the credit line. This will tell you the name of the artist, the title of the piece, the date the artwork was done, the medium used, the size of the work, and where the work is currently located. Sir Jacob Epstein, The Visitation. 1926 (cast 1955). Bronze. 66” H x 19” W x 17½” D. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph Hirshhorn, 1966.

Analysis • In the analysis step, you look at the artist’s style. • An artist’s style is as individual and unique as his handwriting. No two people have exactly the same handwriting, and no two artists have exactly the same style. • Individual style is the artist’s personal way of using the elements of art and the principles of design to express feeling and ideas. • Think about how you know a painting was done by Monet, or Van Gogh, or Matisse, or Jackson Pollock. Their individual styles are so unique as to be instantly recognizable. Claude Monet, Water Lilies II,1908. Jackson Pollack

Interpretation • In this step, you will need to research a little to find out how time and place affected an artist’s style. • For example, Alice Neel was an American artist who was born in 1900. She painted people that she was interested in instead of traditional portraiture. She did not follow any art movements or styles. This is reflected in her unique style. Once you see her images, you can easily recognize her paintings through her individual style. Alice Neel, Dana Gordon. 1972.

Judgment • This is another step where you have to research the artist. Did this work introduce a new style? Or, is it an outstanding example of an existing style? • For example, Alice Neel is considered by art historians to be a great American portrait painter. Her painting Faith Ringgold is of an important American artist who made “story quilts”. Faith Ringgold is the epitome of Alice Neel’s work, so yes this piece is an outstanding example of Alice Neel’s unique style. Alice Neel, Faith Ringgold. 1977. Oil on canvas. 48 x 36 in (121.9 x 91.4 cm). Corporate collection, Texas

Art History • Art has been around for as long as man has been around. Humans have a compulsion to create art – either to communicate or to decorate. • We will be looking at art history in very general terms. In other words, we are not going to go into great detail for every period in art. We will try to hit the high spots so you have a general overview of art history. Leonardo da Vinci, The Mona Lisa, c. 1503-1506. Oil on poplar. 77 x 53 cm, 30 x 21”. Musee du Louvre, Paris, France. Palmer Hayden, The Janitor Who Paints, c. 1937. Oil on Canvas. 99.4 x 83.5 cm (39 ½ x 32 ¼ “). National Museum of American Art, Washington DC

Prehistoric Cultures • In the Altamira Caves in Spain, an amateur archaeologist excavated this low roof cave for 4 years before his daughter who was small enough to stand up straight in the cave looked up and discovered these paintings of sleeping, galloping, and crouching animals. • These cave paintings date back to 15,000 BC • We have no real idea what the purpose of the paintings is. We know they aren’t decorative because they are deep inside the caves, and on the ceilings. The paintings may have been part of the hunting ritual, part of a religious-type of ritual, or maybe just to celebrate a successful hunt. Altamira Cave Painting, Spain.

Ancient River Valley CivilizationsAncient Egypt • Ancient Egypt developed along the banks of the Nile River 3000 years B.C. • Religion was a huge influence. Pharaohs (rulers) were worshipped as gods. The famous pyramids of Egypt were built as tombs for the pharaohs. • Egyptians believed in life after death and prepared for living in the afterlife. • Egyptian artists followed strict rules to decorate temples and tombs. • Each part of body had to be shown from the most visible angle. This is why you see the heads, arms, legs, and feet in profile while the shoulders and eyes are seen from a frontal view. • Scenes from the life of the person being buried were depicted. • Size indicated social hierarchy.

Ancient River Valley CivilizationsMesopotamia • Mesopotamia was the fertile crescent of land between the Tigris and Euphrates river. • The first important group in the area were the Sumerians (around 2700 B.C.) • Sumerians were the first people to have a system of writing called cuneiform, made up of wedge-shaped characters. • Sumerian artwork was more realistic than the Egyptians.

Ancient River Valley CivilizationsChina • Ancient China was in the Yellow River valley • This is the oldest continuous culture in the history of the world. • History of China until modern times was divided into dynasties. A dynasty was a period of time during which a single family provided a succession of rulers. The first dynasty was the Shang dynasty around 1300 B.C.

Ancient River Valley CivilizationsIndia • Ancient India was located in the Indus River valley. • The culture of ancient India has been discovered to date back as far as 2500 B.C. • A city called Mohenjo-Daro was a major commercial center with large blocks, multi-storied houses of fired brick and wood, and elaborate drainage systems.

Art of AsiaIndia (300 B.C. to A.D. 1200) • The art of India has been strongly influenced by the Hindu and Buddhist religions. • Buddhism was predominant from 300 B.C. to 50 A.D. • Hinduism became dominant after that. Hinduism has three primary processes in life and in the universe, each represented by a god. • Creation – Brahma, the Creator is the god. • Preservation – Vishnu, the Preserver is the god. • Destruction – Shiva, the Destroyer is the god. • India exported its religions to the rest of Asia

Art of AsiaChina (300 B.C. to modern times) • China adopted Buddhism during Han dynasty (206 B.C. to A.D. 220) that stressed the oneness of human beings with nature. • Chinese artists found that long periods of meditation enabled them to perceive the beauty of an object or scene, and enabled them to capture that beauty in their painting. • Paintings were on scrolls of parchment or silk. • Sculpture was for religious purposes and to honor the dead. • During the Sung dynasty, porcelain objects were made of fine-grained white clay called kaolin. • Work in porcelain reached its high point during the Ming dynasty.

Art of AsiaJapan • Japan also adopted Buddhism as its major religion. • Until the end of 9th century, Japanese artists copied art styles of China and other Asian countries. • Japanese artists developed a unique style of printmaking and painting, including the woodcut print.

Art of Greece and Rome • Greece was the birthplace of Western civilization. • The Greeks built temples in honor of their gods. The most outstanding example is the Parthenon. • The Greeks believed in a logical, harmonious world. They sought perfect proportion in everything (building, sculpture and music) by following formulas. • Originally statues were painted – the Greeks loved color. All we see now is the white of the marble.

Art of Greece and Rome • The Romans conquered Greece in 146 B.C. but instead of imposing their culture on Greece, the Romans adopted Greek culture for their own. They had previously adopted Etruscan culture when they conquered Italy. As a result, Roman culture is a blend of the ideal Greek philosophy and the practical Etruscan arts (system of drainage and improved use of the arch). • The Romans continued to improve their adopted cultures – they used the arch and concrete to build large scale structures, developed beautiful interior decorations, excellent roads, and realistic rather than idealized sculpture. • The Romans were not concerned with Greek ideas of perfection. They wanted realistic, accurate portraits of people.

Art of Greece and Rome • When Roman emperor Constantine legalized Christianity during the 4th century, Christians were able to build their own churches (based on Roman design). • Interiors of these churches were decorated with mosaics (pictures made by arranging small pieces of colored glass or tile in a grout mixture).

Art of Greece and Rome • Another style of art developed in the eastern part of the Roman empire was called Byzantine art (named after the city Byzantium). This style blended Greek, Roman, and Asian styles, had a religious theme, and used very rich colors and figures that were flat and stiff.

Art of the Middle Ages in EuropeRomanesque • The Middle Ages began with the conquest of Rome in 476. The Christian religion became a dominant force at this time in Europe. Life was now centered around churches. The churches grew in size and political importance. • During this time, new churches were built in the Romanesque style. These churches were massive in size, had solid, heavy walls made possible by the support of the Roman arch, and had many sculptural decorations. • Up until this time, buildings could not be very large because there was no way to support the weight of the roof and the walls. The development of the Roman arch allowed buildings (especially churches) to get larger and allow more people to congregate, thus increasing the power of the church even more.

Art of the Middle Ages in EuropeGothic • In the twelfth century, people moved from the country to the city. Guilds (the forerunners of unions) were formed, and apprentices learned their craft from the masters. • During this time, a wealthy middle class sprung up. Now there are three classes – upper, middle and lower. • Two new developments freed up architecture – the pointed arch and the flying buttress. These two innovations supported the weight of the walls and roof even more than the Roman arch. Now churches could soar upward and windows could be added. • Gothic builders changed the light by using stained glass windows. • Art was dictated by the Church. The only art at this time was religious art that commemorated Christian themes. • Sculpture and painting during the Gothic period started becoming less stylized, more realistic. Egg tempera was used for painting at this time. This was before the development of oil paint.

Art of the Middle Ages in EuropeRenaissance • In the fifteenth century, the printing press and exploration of the Americas and the Pacific opened up the world. Gone were the dark days of the Middle Ages. Renaissance is a term given to the period of awakening at the end of the Middle Ages. • The Renaissance was a time of complete change in the way life was looked at. Kings and church were no longer at the top of the food chain – they were replaced by bankers and merchants. • Art changed during the Renaissance – it was no longer limited to just the Church. Religious art was still a primary source of art, but now art was commissioned by private individuals. Subject matter expanded from religious subjects to portraiture, still lifes, and every day life. • The Renaissance focused on reviving the classical art of Greece and Rome as well as studying the natural world around us. Realism was the ultimate goal for both people and objects depicted. In order to achieve this realism, architect Filippo Brunelleschi developed a technique based on geometry called linear perspective. Linear perspective is a graphic system that creates the illusion of depth and volume on a flat surface. • The most famous of the Renaissance artists were Leonardo da Vinci, Michelangelo, and Raphael. • Oil painting was invented during the Renaissance. Oil painting allowed artists to work on fine detail while the paint was still wet. Leonardo da Vinci, The Last Supper. C. 1495-1498. Tempera on gesso, pitch, and mastic. 460 x 880 cm, 181 x 346 in. Santa Maria delle Grazie, Milan, Italy.

Art of Islam • Muhammad was born in Mecca in 570. He taught that there was only one god, Allah, and his followers were called Muslims. His teachings became the holy scriptures called the Koran, and the name of the religion became Islam. • Islamic art is the art of the Muslim world and is used to decorate the mosques (Muslim places of worship). Art depicting people or animals was not permitted in mosques, but could be and was used in illustrating books. • Islamic art in the mosques was decorative – ornate calligraphy (beautiful writing), geometric patterns, and stylized plants and flowers. • Book illustrations depicted people and animals in everyday scenes such as banquets, hunting scenes, and romantic stories.

Art of Native Americans • Prior to Columbus and the Europeans arriving in America in 1492, the people of North, Central, and South America had well-organized civilizations. There were over 20 million people living in 2000 different groups. Each group had its own unique language, traditions, rituals and art forms. • Any culture before the Europeans (Columbus) arrived is referred to as pre-Columbian. As you can imagine, this part of art history covers a wide variety and function of art depending on which of the 2000 cultures you are looking at.

Art of Europe17th Century • The Renaissance opened up learning in all areas as well as encouraging many new and major developments in exploration and scientific discoveries. As a result, as we move into the 17th century, we can see the impact of the inventions such as the microscope and the telescope. A new worldview is emerging and is reflected in the arts. Learning, discovery, and exploration are moving faster and are happening in every direction – science, math, literature, theater, visual arts. • The Baroque art style is a new movement in art that is reflecting this changing culture. • Baroque art emphasized movement, strong value contrast, and variety. Forms and figures in Baroque art turn, twist and spiral into space. • Baroque artists refined perspective to the point they could make figures seem to move off the canvas toward the viewer. They opened up the picture plane into infinity. There are no more limits in space – the picture plane is no longer flat, it now appears to be completely three-dimensional. • In addition to movement, the Baroque artists used dramatic lighting effects with dark, mysterious shadows, and brightly lit areas. Michelangelo, La Pieta. 1499. Marble. 174 x 195 cm, 68.5 x 76.8 in. St. Peter’s Basilica, Rome, Italy. Michelangelo, The Sistine Chapel (detail). Peter Paul Rubens, The Adoration of the Magi. 1624. Oil on canvas. 447 by 336cm (15 by 11 feet). Koninklijk Museum voor Schone Kunsten in Antwerp, Belgium. Rembrandt van Rijn, Titus, the Artist’s son. C. 1657. Oil on canvas. 55 x 67 cm (21.7 x 26.4”). Wallace Collection, London, England.

Art of Europe18th Century • The Baroque art movement of the 17th century morphed into a more relaxed style in the 18th century called Rococo. • Rococo stressed free graceful movement, a playful use of line, and delicate colors. • Rococo art was used to decorate the homes of the French aristocracy, and depicted their luxurious and carefree lifestyles (pre-Marie Antoinette) The Basilica at Ottobeuren (Bavaria) Thomas Gainsborough, The Mall in St. James Park. 1783. Oil on canvas. 147 x 120 cm. The Frick Collection, New York, NY.

Art of Europe19th Century Neoclassicism • Life changes faster and faster as we move ahead in time. The industrial revolution and the democratic revolutions (including the U.S. and French revolutions) in the late 18th century brought about even newer and faster ways of life, which was reflected in art as well. • Some of the new styles of art were a rebellion against what had gone before in art. • Now instead of a new style for the century, we start seeing movements in art happening either simultaneously, or in rapid succession • The major new movements in the 19th century were Neoclassicism, Romanticism, Realism, Impressionism, and Post-Impressionism. Romanticism Jacques-Louis David, The Oath of the Horatii. C 1784-1785. Oil on canvas. 4.27 x 3.35 m. (14 x 11 ft). Louvre, Paris. Rosa Bonheur, The Horse Fair. 1853-55. Oil on canvas. 244.5 x 506.7 cm (96 ¼ x 199 ½”). The Metropolitan Museum of Art. New York, NY. Realism Impressionism Post-Impressionism Thomas Eakin, Alice Kurtz. 1903. Fogg Art Museum, Harvard University. Cambridge, Massachusetts. Edgar Degas, The Dance Class. 1873-1876. Oil on canvas. Paul Gauguin, Paysanes Paysannes bretonnes (Breton peasant women). 1894. Oil on canvas. 26 x 36 1/4 in. (66 x 92 cm). Musee d'Orsay. Paris, France.

Art of Europe - 19th Century Neoclassicism • The French revolution abandoned the Rococo style since it mirrored the life of the aristocracy. Academies replaced the apprentice system. Academies were strict “schools” of art that taught all aspects of art. The natural place to start was the classic art styles of Greece and Rome, hence the name “Neoclassic” (new classic). • Neoclassicism was severely realistic and unemotional. • An outstanding example of Neoclassic art The Death of Socrates by Jacques Louis David, Jacques Louis David, The Death of Socrates. 1787. Oil on canvas. 51 x 77 1/4 in. (129.5 x 196.2 cm). The Metropolitan Museum of Art. New York, NY.

Art of Europe - 19th Century Romanticism • Romanticism was a reaction to the unemotional Neoclassicism. Romanticists disliked the many rules and the lack of emotion in Neoclassicism. • Romanticists painted emotional scenes of action using brilliant colors to emphasize the feeling of the art work. • Romanticists believed the artist’s personal impression of an event was more interesting than an accurate, historical report. • Rosa Bonheur’s The Horse Fair is a good example of the Romanticism movement. J. W.M. Turner, The Burning of the Houses of Lords and Commons, 16th October. 1834-1835. Oil on canvas. 92 x 123 cm. Philadelphia Museum of Art Rosa Bonheur, The Horse Fair. 1853-55. Oil on canvas. 244.5 x 506.7 cm (96 ¼ x 199 ½”). The Metropolitan Museum of Art, New York, NY.

Art of Europe - 19th Century Realism • The Realists rejected the rules of Neoclassicism and the drama of the Romanticists in favor of real life. The Realists portrayed familiar scenes as they actually were. • The Realists felt that they should portray political, social and moral issues. • Francisco de Goya was a Spanish artist who portrayed the ugly truth of war during the Spanish Revolution. • The American artist, Thomas Eakins painted every day scenes realistically. Francisco de Goya, The Shootings of May Third 1808. 1814. Oil on canvas. 104 3/4 x 136 in. Museo del Prado, Madrid Thomas Eakins, The Agnew Clinic. 1889. Oil on canvas. 84 3/8 x 118 1/8 inches. University of Pennsylvania, Philadelphia

Art of Europe - 19th Century Impressionism • While the Realists were busy looking at the real world, another group called the Impressionists also looked at the world around them. • The Impressionists took their studios outside so they could capture the effects of color and light. They were more interested in reflected light than in realistic form. • Impressionism captured everyday subjects and emphasized the momentary effects of sunlight. • Foremost among the Impressionists were Edouard Manet, Claude Monet, and Auguste Renoir. Monet, Claude, Impression, soleil levantImpression, Sunrise. 1872. Oil on canvas. 48 x 63 cm (19 x 24 3/8"). Musee Marmottan, Paris, France. Claude Monet Paintings of the same cathedral under different light and weather conditions.

Art of Europe - 19th Century Impressionism Pierre-Auguste Renoir, The Luncheon of the Boating Party. 1881. Oil on canvas. 129.5 x 172.7 cm (51 x 68 in.). The Phillips Collection, Washington Berthe Morisot, At the Ball, 1875. Musee Marmottan Monet. Paris, France. Edouard Manet, The Fifer. 1866. Oil on canvas. 63 x 38 1/2 in. (161 x 97 cm). Musee d'Orsay, Paris. Mary Cassatt, Portrait of a Little Girl. 1878. Oil on canvas. 89.5 x 129.8 cm. National Gallery of Art, Washington

Art of Europe - 19th Century Post-Impressionism • Some of the Impressionist artists became dissatisfied and wanted their art to become more meaningful. Others wanted more feelings, intuitions and ideas in their art. Still others wanted more structure and form. These artists became known as the Post-Impressionists. • Post-Impressionism was not a unified movement. Post-Impressionism better describes a time period in the latter part of the nineteenth century than a particular style of art. The artists had very little in common with one another except for the time period in which they lived. • The Post-Impressionists each expanded his or her style to create something so unusual that each style led to important developments in art during the 20th Century. • Post-Impressionist artists include Henri Toulouse-Lautrec, Berthe Morisot, Mary Cassatt, Paul Cezanne, Vincent van Gogh, and Paul Gauguin. Henri Toulouse-Lautrec, In Bed. 1893. Berthe Morisot, Peasant Hanging out the Washing. 1881. Oil on canvas. 18 x 26 1/4" (46 x 67 cm). Ny Carlsberg Glyptotek, Copenhagen

Art of Europe - 19th Century Post-Impressionism Paul Cezanne, Still Life with Plate of Cherries. 1885-87. Oil on canvas. 22 /78 x 27" (58.1 x 68.9 cm). Los Angeles County Museum of Art. Mary Cassatt, Summertime. c. 1894. Oil on canvas. 100.7 x 81.3 cm. Terra Foundation for the Arts Mary Cassatt, The Banjo Lesson. 1893/94. Pastel over oiled pastel on tan wove paper. 72.2 x 58.6 cm. Virginia Museum of Fine Arts, Richmond Mary Cassatt, Lady at the Tea Table. 1883. Oil on canvas. 73.4 x 61 cm. Metropolitan Museum of Art, New York Paul Cezanne, Portrait of Gustave Geffroy. 1895. Oil on canvas. 45 5/8 x 35 in. Collection Mr. and Mrs. Rene Lecomte. Paris, France. Paul Cezanne, Well: Millstone and Cistern Under Trees (Meule et citerne sous bois). 1892. Oil on canvas. 25 5/8 x 31 7/8 in. (65 x 81 cm). The Barnes Foundation, Merion, Pennsylvania

Art of Europe - 19th Century Post-Impressionism Vincent Van Gogh, Entrance to the Public Garden in Arles. 1888. Oil on canvas. 72.5 x 91 cm (28 1/2 x 35 3/4 in.). The Phillips Collection, Washington, D.C. Paul Gauguin, Portrait of the Artist with the Idol. c. 1893. Oil on canvas. 17 1/4 x 12 7/8 in. (43.8 x 32.7 cm). McMay Art Museum. San Antonio, TX. Paul Gauguin, Femmes de Tahiti OR Sur la plage (Tahitian Women OR On the Beach). 1891. Oil on canvas. 27 1/8 x 35 7/8 in. (69 x 91 cm). Musee d'Orsay, Paris Vincent Van Gogh, The Starry Night. 1889. Oil on canvas. 29 x 36 1/4 in. The Museum of Modern Art, New York Vincent Van Gogh, Wheat Field Under Threatening Skies. 1890. Oil on canvas. 50.5 x 100.5 cm. Vincent van Gogh Museum, Amsterdam

Art of Africa • The art of Africa is as varied as the one thousand cultures consisting of millions of people. • Most African art in museums dates only from the last century because the damp climate has destroyed many of the wooden or fabric pieces. • A few metal sculptures dating back to the 16th century from the Benin kingdom show an outstanding command of metal-casting techniques. SONGYE Figure. Zaire. Wood, metal, and feathers. 44 1/4 in. (112.5 cm) high. Collection J.W. Mestach, Brussels YOMBE Fetish. Zaire. Wood and mixed media. 23 3/8 in. (59.5 cm) high. Musee Royal de l'Afrique Centrale. Tervuren, Belgium .

Art of Africa • The arts of Africa are interwoven into the religious life and everyday lives of the many nations, kingdoms and culture groups. Everything artistic also serves a functional purpose – ceremonial canes, combs for hair, stools, chairs, pipes, and spoons. • Weaving is widespread. Everyday weaving is done by the women, while the ceremonial weavings such as Kente cloth are reserved for the men alone to do. • Sculpture is regarded as one of Africa’s greatest contributions to the world’s cultural heritage. African sculpture inspired the development of Cubism in Europe in the 20th century. • African wood carvings include figures and masks. The figures are ancestral figures, power figures, and funeral figures. They have proportions that reflect cultural concepts rather than realism, and an enlarged head indicates its importance as the center of reason and wisdom. Yoruba bronze head sculpture from the city of Ife, Nigeria c. 12th century A.D. SONGYE Kifwebe Mask. Zaire. Painted wood. 24 3/4 in. (63 cm) high. Private collection

20th Century Art • 20th century art changed so rapidly and in so many directions, it’s difficult to pinpoint all the movements or even define a movement any more. Some artists were involved in several movements in their lifetime. • European art moved in three general directions: • Expressing emotions • Emphasized structure and composition • Stressed imagination and dreamlike inventions • Artists experimented with anything and everything in the 20th century William de Kooning, Whose Name Was Writ in Water Piet Mondrian, Broadway Boogie Woogie. 1942-1943. Oil on canvas. 50 x 50 in. (127 x 127 cm). The Museum of Modern Art, New York

20th Century ArtFauvism • Fauvism was a movement at the beginning of the 20th century characterized by the use of brilliant colors, bold distortions, and loose brushstrokes. • Fauve is French for “wild beasts” • The Fauves continued the expressive ideas of Van Gogh and Gauging. • Henri Matisse was the leader of this movement. He was concerned with expressing the feeling he had for life. He insisted that his work had one purpose – to give pleasure. Henri Matisse, Femme au manteau violet (Woman in a Purple Coat). 1937. Oil on canvas. 37 7/8 x 25 11/16 in. Museum of Fine Arts, Houston Andre Derain, The Turning Road, L'Estaque. 1906. Oil on canvas. 4 ft 2 1/2 in x 6 ft 4 1/2 in. Museum of Fine Arts, Houston.

20th Century ArtExpressionism • Expressionism was a German movement in which artists tried to communicate strong emotional feelings. Expressionism stressed personal feelings rather than composition. • Kathe Kollwitz was an Expressionist who was concerned with poverty and war. Edvard Munch, The Scream. 1893. Oil, tempera and pastel on cardboard. 91 x 73.5 cm. National Gallery, Oslo Kathe Kollwitz, Selbstbildnis von vorn (Self-Portrait from the Front). 1923. Woodcut. 15 x 15.6 cm (image). Gift of Albert M. Bender. Kathe Kollwitz, Selbstbildnis mit der Hand an der Stirn (Self-Portrait with Hand on the Forehead). 1910. Etching. 15.5 x 13.8 cm (plate). California State Library long loan.

20th Century ArtCubism • Cubism is a style that emphasizes structure and design. It is an attempt to put all dimensions onto a flat surface at one time – to see all points of view at the same time. • Three things influenced the Cubists: • The idea that all shapes in nature are based on geometric solids • The scientific discovery that matter is made up of atoms that are constantly in motion • The art of Africa – African sculpture Juan Gris, Portrait of Picasso. 1912. Oil on canvas. 93.4 x 74.3 cm. (36 3/4 x 29 1/4 in.). The Art Institute of Chicago. Pablo Picasso, The Guitar Player. 1910. Joan Miro, The Farm (La masia).

20th Century ArtThe Futurists • The Futurists took Cubism a step farther. They placed lines and shapes in a composition to suggest motion. • Piet Mondrian was a prime example. He created nonobjective art using only vertical and horizontal black lines, black, white and gray rectangles, and the three primary colors. Piet Mondrian, New York City. 1941-42. Oil on canvas. 119 x 114 cm (46 7/8 x 44 7/8 in). Musee national d'art moderne, Centre Georges Pompidou, Paris. Piet Mondrian, Composition with Yellow, Blue and Red. 1937-42. Oil on canvas. 72.5 x 69 cm (28 1/2 x 27 1/8 in.). Tate Gallery, London

20th Century ArtDadaism • Dadaism introduced fantasy into their subject matter. Dadaists used fantasy to take aim at the culture they thought had failed them. • Dadaism was a reaction to the horrors of World War I. Basically, artists felt that society with all its rules was the cause of all the bloodshed. World War Iwas considered to be “an insane spectacle of collective homicide” by the Dadaists. • Dada is anti-art. It has no meaning. It has no purpose. Ironically, it set the stage for much of the 20th century art to follow. • Some examples of Dadaism are a fur-lined teacup and a urinal. Meret Oppenheim, Object (Le Déjeuner en fourrure). 1936. Teacup, saucer, spoon, fur. Museum of Modern Art, New York. Marcel Duchamp, Fountain. 1970. 60 cm tall. Readymade porcelain urinal. Philadelphia Museum of Art.

20th Century ArtSurrealism • Surrealism is another movement similar to Dada in philosophy, but not as extreme. • Surrealism was a style in which dreams, fantasy, and the subconscious served as inspiration for artists. • Surrealist art was very realistic, almost photographic, but not real life at all. Salvador Dali, The Persistence of Memory. 1931. Salvador Dali, Nature Morte Vivante ( Still Life – Fast Moving) . 1956.

20th Century ArtRegionalism • Regionalism was a purely American art movement that focused on scenes in America. • Regionalists painted farmlands and cities, focusing on the vast expanse, beauty, productivity and abundance of America. Grant Wood, American Gothic American Gothic, 1930. Oil on beaverboard. 74.3 x 62.4 cm. Friends of American Art Collection, Chicago. Thomas Hart Benton, The Sources of Country Music. 1975. Acrylic on canvas. 1.8 x 3 m (6 x 10’).The Country Music Hall of Fame and Museum, Nashville, Tennessee.

20th Century ArtMexican Muralists • The Mexican Muralists were a group of artists whose art reflected their concerns about the plight of common people. • They were called the Mexican Muralists because they covered walls and ceilings with murals about Mexican history – the plight of the peasants and the immoral behavior of the ruling class. • David Siqueiros, Jose Clemente Orozco, and Diego Rivera were the three Mexican Muralists Diego Rivera, Night of the Rich. 1928. Fresco. North wall, Courtyard of the Fiestas, Ministry of Education, Mexico City David Alfaro Siqueiros, Echo of a Scream. 1937. Enamel on wood, 48 x 36" (121.9 x 91.4 cm). Gift of Edward M. M. Warburg. Museum of Modern Art, New York. Jose Clemente Orozco, The Dartmouth Mural. 1932 – 1934.

20th Century ArtAbstract Expressionism • Abstract Expressionism was one of the first art movements to emerge after World War II. • It was abstract because it emphasized the elements of art and principles of design as its subject matter. • It was expressive because it stressed feeling and emotions rather than planned design. Jackson Pollack, Eyes in the Heat. 1946. Willem de Kooning, Woman V. 1952-53.

20th Century ArtPop and Op Art Pop Art • In the 1960’s, artists turned to mass media, specifically advertising for inspiration. • Pop artists portrayed images of popular culture as their subject matter. Two of the most famous pop artists were Andy Warhol and Roy Lichtenstein. • Op artists liked to fool the eye using scientific knowledge to create optical illusions of movement. Andy Warhol, Marilyn. Roy Lichtenstein, Drowning Girl. 1953. Op Art Bridget Riley, Movement in Squares. 1961.

20th Century ArtColor-Field Painting • Color-Field Painting focuses only on flat fields of color. • Color-Field Painting is color for the pure sensation of color. • The most famous Color-Field artist is Mark Rothko. His color areas have hazy edges that seem to float in space. Mark Rothko, Red on Maroon. 1959. Tate Collection, London. Mark Rothko, Earth and Green.

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Jean-Honore Fragonard, The Swing , c. 1768.

Jules Hardouin-Mansart and Charles Le Brun, Hall of Mirrors, Palais de Versailles , Begun 1678.

Elisabeth-Louise Vigee-Lebrun, Marie Antoinette with Rose , 1783.

Jacques-Louis David, Death of Marat , 1793.

Theodore Gericault, Raft of the Medusa , 1818-1819.

Joseph Mallard William Turner, The Slave Ship , 1840.

William Henry Fox Talbot at Laycock Abbey, 1846.

Gustave Courbet, The Stone Breakers , 1849.

Edouard Manet, Le Dejeuner (The Luncheon on the Grass) , 1863.

Claude Monet, Impression: Sunrise , 1872.

Vincent van Gogh, The Starry Night , 1889.

Paul Cezanne, Still Life with Basket of Apples , 1890 - 1894.

Pablo Picasso, Les Demoiselles d'AVignon , 1907.

Marcel Duchamp, Fountain , 1917 (1964 replica).

Jackson Pollock, Autumn Rhythm (Number 30) , 1950.

Joseph Kosuth, One and Three Chairs , 1965.

Robert Smithson, Spiral Jetty , April, 1970.

Renaissance Timeline

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Art History

Art history hallema mitchell methods and inquiries of art art then- any kind of visual material that is created and has special meaning fine art-paintings, prints ... – powerpoint ppt presentation.

• Hallema Mitchell
• Art then- any kind of visual material that is created and has special meaning
• Fine Art-paintings, prints, drawings, sculpture, and architecture made for a specific audience
• Art Now- Tattoos, pottery, textiles
• There is no official definition of art, it can be defined many different ways.
• Definitions Change over time
• Formal Analysis-visual quality, elements of art
• Contextual Analysis- Thinking Outside of the box
• -Time Period
• Close examination of an artwork
• -original piece
• -materials used
• -origin of idea
• -time period
• Art history came about in the Mid 18th century
• Ancient Roman historian Pliny the Elder (23-79 C.E)
• -Natural History (Historical and Contemporary Art)
• Giorgio Vasari (1511-74)
• -Artist and Author
• -The Lives of the Great Artists
• -Period of the Renessiance
• Histories are individual stories
• Contain Biases
• Art History has been revised
• -feminist historians
• -expanded its scope
• Study of artifacts
• Climate and materials
• Unexplored Sites
• Paleolithic Period
• Chauvet Cave
• Found in1994
• Historians use the best information to date artworks from the past
• Large colored drawings of animals
• Red, Yellow ochre and Charcoal
• Mesolithic Period
• Change in climate
• Created 7000B.C.E- 4000B.C.E)
• Depicts human figure and activity
• Neolithic Period
• Megaliths (great Stones)
• Stonehenge (2100B.C.E)
• Rings or rows of rough-hewn stones in Western Europe
• Sumerian Temples
• Ziggurats (step pyramids)
• -administrative and economic center
• Relief Carvings
• -important beliefs
• Ishtar Gate
• -gateway to the ziggurat on the temple Bel
• -greatest works of architecture
• Present Day Iran
• (c. 538 B.C.E-330B.C.E)
• Architecture
• Great pyramids at Giza
• Huge Pharaohs
• Queen Nefertiti Head
• Hierarchical Scale- figures or objects to determine their relative sizes within an artwork
• Fractional Representation- Each part of the body is shown clearly
• Mummification

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Fall 2024 Virtual Islamic Art History Seminar Series (VIAHSS) Program

The Virtual Islamic Art History Seminar Series (VIAHSS) is pleased to announce our Fall 2024 program. Please note that all talks will now take place on Tuesdays instead of Fridays at 12 noon EST/5PM UK/7PM Turkey (unless otherwise noted). Registration links for individual events will be sent out approximately one week before the program. To receive these links, please sign up for our mailing list at viahss.org. 

Fall 2024 Presentations

Tuesday, September 3, 2024 Özlem Yıldız (Temple University) Bringing the Heavenly Down to Earth: Nature, Bodies, and Objects as Symbols of the Divine in the Illustrated Qisas al-Anbiya Manuscripts from the Sixteenth-Century

Tuesday, September 17, 204 [Please note this talk will be one hour earlier than usual, at 11:00 am NYC] Muhammad Hadi bin Osni (Community Researcher, My Community Limited) Positioning Singapore’s Early Modernist Mosques in Southeast Asia Architectural History (1977-1981)

Tuesday, October 1, 2024 Heba Mostafa (University of Toronto) Architecture of Anxiety: Body Politics and the Formation of Islamic Architecture Tuesday, October 15, 2024 Cailah Jackson (Independent Scholar) Mevlevi Manuscript Culture in the Late Medieval Period

Tuesday, October 29, 2024 Mahnam Najafi (Shahid Beheshti University) The Evolution of Squares in Qajar Tehran: A Study of Urban and Social Changes Tuesday, November 5, 2024 Sinem Casale (University of Minnesota, Twin Cities) Gifts in the Age of Empire: Ottoman-Safavid Cultural Exchange, 1500-1639

Tuesday, November 19, 2024 Amber Elisabeth Peters (Ca’Foscari University) The Ocean in Early-Modern South Asian Art

Tuesday, December 3, 2024 Ahmad Rafiei (Toledo Museum of Art) Beyond Allegory to Prosody: Unraveling Reza Abbasi’s Artistic Odyssey Through Yul Quli Beg’s Influence

Tuesday, December 10, 2024 [postponed from August 20] Caroline Angle Maguire (University of Maryland, College Park) Ashley Miller (University of Michigan Museum of Art) Elizabeth Rauh (American University of Cairo) A Roundtable Discussion: Exhibiting MENA Cultural Heritage: Post-colonial Interventions

As always, you can find a full schedule of upcoming talks and register for our list-serv on our website at viahss.org. Although not every talk is recorded, we also have recordings of several recent talks available on the VIAHSS Vimeo page at vimeo.com/viahss. Lastly, you can follow us on X at @viahss and on Instagram at @theviahss to stay up to date on upcoming events!

Dr. Alexander Brey and Rachel Winter

• Announcement

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