Straube nicholas p4 abstract_02
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The depiction of ruins transformed in the 18th century as the culture of sensibility took hold. Ruins took on emotional meanings in Romanticism beyond their original practical functions. This fascination with ruins is still seen today in distressed clothing and furniture seeking to symbolize human impermanence. On Grand Tours, the affluent began experiencing historic sites firsthand using guides like Burke's treatise on the sublime. Archaeological findings presented a domestic view of antiquity. Artists and theorists analyzed ruins rationally as remnants of the past rather than following historicist ideals. Piranesi's etchings of real and imagined ruins spread Ruinenlust across Europe.
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Rococo to Realism 1
Rococo to Realism 1Jacques de BeaufortThis document provides an overview of artistic styles from the Rococo period to Realism. It discusses how Europe transitioned from a semi-feudal state in the 18th century to an era shaped by the Enlightenment and Industrial Revolution. The Rococo style emphasized delicate colors, curving forms, and playful subjects. The Enlightenment pushed for rational thought and observation of natural laws. The Industrial Revolution profoundly transformed society and the economy. Neoclassicism emerged as a reaction against Rococo, drawing inspiration from Greek/Roman antiquity. The French Revolution influenced artists like Jacques-Louis David to depict political themes. Romanticism valued emotion over reason and nature over intellect. Eugène Delacroix was a
Art111 unit10 final_gothic_v_quarles
Art111 unit10 final_gothic_v_quarleskweenipieThe document provides an overview of Gothic art and architecture, highlighting some of its distinctive visual features. It summarizes that Gothic art and architecture is striking due to its beauty, engineering feats, and hypnotic qualities. Specific elements mentioned include stained glass windows, Gothic armor, manuscripts like the Luttrell Psalter containing strange illustrations, and surreal paintings by Hieronymus Bosch depicting fantastical scenes. The document suggests the Gothic period produced such vivid and imaginative art even during times of hardship, with the visuals sometimes appearing hallucinatory or whimsical.
Local vs. Global Art
Local vs. Global ArtICCU202 / MUICThe document summarizes several artworks that explore themes of globalization and how cultures interact and influence each other globally. It discusses works by artists from different countries that incorporate both traditional and modern iconography from diverse cultures like Li Lihong's porcelain sculptures blending Chinese and Western motifs and Korakrit Arunanondchai's video art examining the merging of art and life in contemporary Thailand. The document examines how artists acknowledge and comment on cultural exchange in an increasingly interconnected world.
Painting color - history. jacques lassaigne, robert l. delevoy
Painting color - history. jacques lassaigne, robert l. delevoyAna Maria de la CuevaThe passage summarizes Hieronymus Bosch's artistic style and influence. It describes how Bosch introduced fantastical monsters and imagery of hell in contrast to the tranquil religious scenes of earlier Flemish artists. His works depicted a chaotic world influenced by medieval superstitions and the signs of the Last Judgment. Bosch built a strange art based on ever-changing forms and the conflict between good and evil, using his vivid imagination to create hybrid monsters and phantasms torturing humankind. His demonological works reflected the spiritual unrest of his time through a poetry of the imaginary.
Ch.28 rococo
Ch.28 rococoguestf0358dThe document discusses the Rococo art movement in 18th century France. Key features of Rococo art included lavish decoration without straight lines, use of curves, and themes depicting aristocratic leisure activities. Major Rococo artists mentioned include Fragonard, Cuvillies, and Watteau. The Enlightenment era coincided with Rococo and involved questioning traditions through science and philosophy. The Industrial Revolution also began transforming society through technological advances like Darby's Iron Bridge.
Constructing Curiosity ݺߣshow.pptx
Constructing Curiosity ݺߣshow.pptxMiaJackson14The document summarizes how objects from other cultures were collected and displayed in early modern European curiosity cabinets. These collections tried to categorize natural and man-made artifacts but often did so through a Eurocentric lens, mislabeling and recontextualizing items. Objects of wonder from unfamiliar places fascinated viewers but were also used by royal collectors to assert political power and dominance. The document examines specific works that incorporated exotic plants, animals and artifacts into European paintings, sculptures and illustrations to reinforce this worldview while inspiring awe.
Literature during medieval period
Literature during medieval periodellaboiThe document provides an overview of life, history, and literature during the Medieval period in Europe. It discusses how most people lived agrarian lifestyles and found entertainment in social activities and festivals. It also describes the rise of Christianity, developments like the Crusades and Black Death, and influential literary works created by monks, troubadours, and authors like Dante. The document concludes by explaining the developments that led to the printing press, a pivotal innovation attributed to Johannes Gutenberg.
10242016 StrayerUniversityBookshelfTheHumanitiesCultu.docx
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astheyappliedthemselvesonlytoworkthatonepersoncouldaccomplishaloneandtoarts
thatdidnotrequirethecollaborationofseveralhands,theylivedasfree,healthy,goodand
happymen…butfromtheinstantonemanneededthehelpofanother,anditwasfoundto
beusefulforonemantohaveprovisionsenoughfortwo,equalitydisappeared,propertywas
introduced,workbecamenecessary,andvastforestsweretransformedintopleasantfields
whichhadtobewateredwiththesweatofmen,andwhereslaveryandmiseryweresoon
seentogerminateandflourishwiththecrops.
Givensuchthinking,itishardlysurprisingthatRousseauultimatelywithdrewfromsociety
altogether,sufferingincreasinglyacuteattacksofparanoia,anddiedinsane.
PRINTEDBY:[emailprotected]Printingisforpersonal,privateuseonly.Nopartofthisbookmaybe
reproducedortransmittedwithoutpublisher'spriorpermission.Violatorswillbeprosecuted.
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VoltaireandFrenchSatire
ThethirdgreatfigureamongtheParisianphilosopheswasFrançoisMarieArouet,knownby
hispenname,Voltaire(1694–1778).Sowellschooled,sowitty,andsodistinguishedwas
Voltairethattomanymindsheembodiesallthefacetsofaverycomplexage.Hewrote
voluminously—plays,novels,poems,andhistory.Morethananyotherphilosophe,hesaw
thevalueofother,nonWesternculturesandtraditionsandencouragedhisfellow
philosophestofollowhislead(Fig.25.13 ).Hewasamanofscienceandanadvisorto
bothLouisXVandFredericktheGreatofPrussia.Hebelievedinanenlightenedmonarchy,
butevenasheservedtheserulers,hesatirizedthem.ThisearnedhimayearintheBastille
prisonin1717to1718,andlater,in1726,anotheryearinexileinLondon.
Voltaire’syearinEnglandconvincedhimthatlifeundertheBritishsystemofgovernment
wasfarpreferabletolifeunderwhathesawasatyrannicalFrenchmonarchy.Hepublished
thesefeelingsinhis1734PhilosophicalLetters.Notsurprisingly,thecourtwasscandalized
byhisfrankness,soinordertoavoidanotherstintinprison,Voltaireremovedhimselftothe
countrytownofCirey,homeofhispatronessthemarquiseduChâtelet,awomanoflearning
whoexertedanimportantintellectualinfluenceonhim.In1744hereturnedonceagainto
court,whichprovedtediousandartificial,butin1750hediscoveredinthecourt
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NCC PROTO-RENAISSANCE
NCC PROTO-RENAISSANCE65swissThis document provides an overview of art in Italy during the 13th and 14th centuries, a transitional period between the medieval and Renaissance eras known as the Proto-Renaissance. It discusses how artists in Florence and Siena, such as Giotto, Duccio, and the Lorenzetti brothers, began moving away from Byzantine conventions towards more naturalistic depictions of space, light, and the human form. While figures were still rendered in a somewhat stylized manner, these artists incorporated elements of realism that would later be expanded on during the Renaissance. The document also notes how this period was marked by the Black Death pandemic and growth of city-states and republics in places like Florence and Sien
Rococo to Realism (condensed)
Rococo to Realism (condensed)Jacques de BeaufortThe document provides an overview of artistic styles and movements from Rococo in the early 18th century through Romanticism. It traces how Rococo emphasized delicate forms and pastoral themes but gave way to Neoclassicism during the Enlightenment which praised Greek and Roman antiquity. The Industrial Revolution and French Revolution led to further changes, with Romanticism emerging in reaction to Neoclassicism by emphasizing emotion, imagination, and the individual over reason. Key artists discussed include Watteau, Fragonard, David, Géricault, Delacroix, and Blake.
Week 9.rococo and neoclassicism overview
Week 9.rococo and neoclassicism overviewasilkententThe document discusses the transition from Rococo to Neoclassicism in art during the 18th century, driven by political and social revolutions. [1] Rococo art flourished under aristocratic patronage but its lavish style widened the class divide. [2] The Industrial and American revolutions further strained class relations. [3] Neoclassicism emerged to support revolutionary ideals through its use of Greco-Roman themes celebrating reason and republican virtues.
Terms Ch 16 
Terms Ch 16 Jacques de BeaufortThis document provides an overview of important artists and works from the Renaissance through Rococo periods in Europe. It discusses seminal pieces such as Masaccio's Holy Trinity and Michelangelo's David. Key movements like the Renaissance, Baroque and Rococo are defined. Influential artists including Botticelli, Leonardo da Vinci, Caravaggio, Rembrandt and Fragonard are mentioned. Important techniques in painting like chiaroscuro, sfumato and tenebrism are also summarized.
Critical Space Part 2
Critical Space Part 2Tony WardThe document discusses the concept of landscape from historical and social perspectives. It argues that the term landscape emerged as a social construction that served to demonstrate social control and power. While landscapes may depict natural settings, they are designed and crafted to create an illusion of antiquity and nature while actually erasing oppression and exploitation. Landscapes became a way for elites to display wealth and status through carefully designed gardens, estates, and paintings of landowners in their lands. The roots of landscape architecture are embedded in the suffering of displaced peasants and the document examines how the concept of landscape has been used to commodify and profit from land.
Ncc art100 ch.6
Ncc art100 ch.665swissThis document discusses food, shelter, and art related to these topics throughout history. It begins by describing how early people secured food through hunting and gathering. It then examines artworks depicting food storage vessels, glorified depictions of food as luxury or nostalgia, and art showing the act of eating as both religious ceremony and modern performance art. The document next analyzes various structures for shelter including cliff dwellings, villas, houses, and commercial buildings from ancient Rome to modern skyscrapers. It concludes by discussing postmodern architecture and its deconstruction and reconstruction of past styles.
Critical Aesthetics: Race, Class, Gender and Cultural Capital in Art and Design
Critical Aesthetics: Race, Class, Gender and Cultural Capital in Art and DesignTony Ward
Painting color - history. jacques lassaigne, robert l. delevoy
Painting color - history. jacques lassaigne, robert l. delevoyAna Maria de la Cueva
10242016 StrayerUniversityBookshelfTheHumanitiesCultu.docx
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Straube nicholas p4 abstract_02
- 1. The depiction, creation, and fascination with ruins in the 18th century were transformed in meaninig as the culture of sensibility took hold and the gave way to the more dramatic and intensely emotional imagery of Romanticism. Ruins maintained a multi-valiant construction of meaning, at times seeming dirtectly at odds with their form and intention. The legacy of this is still felt today, in intentionally tattered designer blue jeans and purposefullydistressed furniture, to the current trend in post-industrial urban exploration. It seems we need not just reminders of our immortality, but also symbols of our humble, ruinous virtue, no matter the level of contrivance. The growing affluent leisure class began to take Grand Tours of Europe in order to experience first hand the storied natural and historical sites of the continent. Armed with Edmund Burke’s A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, one could hike in the Alps or follow the Appian Way to Rome and behold views, beautiful or sublime, heretofore only promised through painted or drawn imagery and descriptions. The archeological uncovering of the buried cities of Herculaneum and Pompeii presented a domestic version of antiquity quite different from the well known, grand, lingering remains of the public buildings and infrastructure of ancient Rome and Greece. Architects, artists, theorists and connoisseurs such as Charles-Louis Clérissaeau and Marc Atoine Laugier among others, in their search for architectural origins, stripped the historicist ideals long attached to ancient ruins through rational analysis and measured drawings. These structures could now be seen as the remnants of functional buildings, artifacts of domestic and public lives, thus placing them into the realm of the uncanny, or what Sigmund Freud would later call “heimlich.” The great Italian draughtsman Piranesi published studied etchings of ancient ruins as well as imagined prisons, which were broadly disseminated in France and Britain feeding into and helping generate the Runenlust which would take hold of the landed gentry for much of the next century. As the century progressed a culture of sensibility takes hold. No longer is it rationality and trained cognition which makes one moral and virtuous, but rather one’s capacity to perceive deeply through the senses and respond intuitively and emotionally in the appropriate way. In this context, the rigidly ordered, and rational becomes passé at best, tyrannical at worst. As a result of this, the highly formalized French Vista Garden gives way to the irregularity of the “natural” picturesque English garden. Mountains and volcanoes, once viewed as perversions of God’s perfect creation, are now seen in a morally positive light, suggesting the upheaval of the pre-dilluvian, “mundane egg” (Brodey) synonymous with the nature of mankind and thus triggering the sympathetic response so desired by the proponents of sensibility. The ruined and fragmented are held aloft across the strata of the arts, from the fragmented irregular narrative of novels like “Tristam Shandy” or “The Sorrows of Young Werther” to the deliberately designed ruins of Francois Nicolas Henri Racine de Monville’s Column House. At the core of sensibility is a supposed appreciation for the natural, the common, and the un-manicured. Through this impulse peasants and commoners became ironically further subjugated and objectified by the upper-class. Marie Antoinette famously had her miniature village and working dairy, Petite Trianon, built. The paintings of Greuze and Vernet, which celebrated the common and rural, became very popular, and the rustic peasants, in a bizarre spectacle of simulacra, could be hired to play silent, idealized versions of themselves on the garden estates of sensible men. Ruins real and imagined were shipped back home as souvenirs from one’s travels and placed or constructed in picturesque gardens. There they sat, becoming more ruined or in the case of some fabricated ruins becoming unappealingly ruined. Examples of manufatured ruins: Racine de Monville’s Column House Marie Antoinette’s Petite Trianon,Pattern books by thouin, Hirschfeld and Lugar, Robert Adam’s design for a bridge with a ruined balastrade in Yorkshire, John Soane’s designed ruins for his garden at ealing. Below is the begining of the graphic approach. It will stretch further in increments of 9 inches. Ideally it would unfold like an accordian or could be navigated over like a large painting. There is a mix of digital hand drawing and collage forms. Overall it is structured as a loose narrative. There will be explanatory text added throughout. and additional imagery/text explaining the legacy of our fascination with ruins.