In Gesta, 63-73. 1st ed. Vol. 37. International Center of Medieval Art, 1998. http://www.jstor.org/stable/ [7] Spieser, J. M. "The Representation of Christ in the Apses of Early Christian Churches." In Gesta, 63-73.
The Chapel of Charlemagne is considered a masterpiece of Carolingian architecture and is the best know surviving example of a Palatine Chapel. Figure 1.1 Palatine Chapel in the cathedral at Aachen, Ger. The central portion of the structure was built by Charlemagne, and the other sections were built later. Vanni/Art Resource, New York The Middle Ages art and architecture was divided into two periods Romanesque and Gothic. Building rooms such as the Abbey Church of Sainte-foy in France marked the Romanesque period shown here in figure 1.2.
Adelard’s nephew was responding to Adelard’s thoughts of Aristotle and God in the article Natural Questions. Adelard was a traveling advocate of Arabic science and also was one of the scholars who was interested in Aristotle’s philosophic, naturalistic, and empirical approaches in the medieval period. Knowing this, it is obvious that Adelard was going to view things with an incredibly knowledgeable bias. An example of this bias is when Adelard said, “It is difficult for me to talk with you about animals, for I have learned one thing, under the guidance of reason, from Arabic teachers; but you, captivated by a show of authority, are led around by a halter.” Because Adelard was a highly intelligent scholar, he looked at things in a more scientific and scholarly manner rather than in the common manner of God’s will that was popular in the medieval times. Another example of Adelard’s bias is the quote, “For why not fill up sheets of paper, and why not write on the back too, when you usually have such readers today who require no rational explanation and put their trust only in the ancient name of a title?” In this quote, it is clear that Adelard was beginning to defend Aristotle’s teachings and slightly turn his back against the “God’s Will” approach.
Durer frequently traveled to Italy; most of his works were inspired by Italian artists such as Leonardo da Vinci. He also very strongly believed that geometry was an important skill for art; as his quoted goes “…the sole reason why painters of this sort are not aware of their own error is that they have not learnt Geometry, without which no one can either be or become an absolute artist.” In many of his paintings, Durer has special geometric figures. For example, his work Melancholia contains a “magic square”. Also in Melancholia is the polyhedron in the picture, the faces of which appear to consist of two equilateral triangles and six somewhat irregular pentagons. Other works also depict his fascination with geometry, such as the book he published which dealt, among other things, with the construction of various curves, polygons, and other solid bodies.
I argue that having the ability to be controversial is what makes art, art. In truth, "the freedom of expression" is a lie because while we all possess it, we don't speak our mind in fear of being ridiculed or having our opinions written off. Art is the only medium, where one's thoughts, no matter how controversial, can be presented in anyway they want, there shouldn't be a "taking it too far" with art. Everything is appropriate in art. Writers Week is a event that allows people to say things they would not normally say in a school environment, or share thoughts they wouldn't share with people, whether it be the f-bombs 'Mutts' dropped or the swears that student presenters uttered while reading their speeches,their art brought some crudeness into our sugar coated school environment.
Historical Representation and Maps and Territories History is explained through stories, just as territories are explained through maps. However, these stories and maps are just representations of what is actually real. One cannot claim to know exactly what happened at a certain time or place without having in fact been there to experience it for them self. Just as one cannot claim to know what a place looks like unless they have indeed been to that specific territory. Neil Gaiman and John Lewis Gaddis support these statements, and each other, in their pieces, a passage from Fragile Things, and the book, The Landscape of History.
C2—The course teaches students to understand works of art within their historical context by examining issues such as politics, religion, patronage, gender, function, and ethnicity. The course also teaches students visual analysis of works of art. The course teaches students to understand works of art through both contextual and visual analysis. Art of Ancient Greece: Gods, Heroes, and Athletes [C1] Topics: Context and Visual Analysis [C2] • Concept of democracy • Greek humanism: man as the measure of all things • Evolution, transition, and progression of the ideal human figure in Greek art: geometric, orientalizing, archaic, severe, classical, late classical, Hellenistic • Balance, harmony, beauty, and proportion in man and in art based on mathematical proportions • Mythology permeates Greek life and subject matter in art • Golden Age of Pericles • The Parthenon: geometry and the human form • Progression of architectural orders: Doric, Ionic, Corinthian • Hellenism and the spread of Greek art • Cosmopolitan structure replaces independent city states [C2] 4 TEST: One
Socrates’ Life Story Socrates, who was a celebrated Greek philosopher and moralist, was born in Athens, Greece, in the year 469 B.C. He was the son of the icon Sophroniscus, a sculptor, and of the midwife Phaenarete. As a young man, he was refined in gymnastics and music. As he got older, he made himself familiar with geometry and astronomy and he studied the methods and the doctrines of the leaders of Greek thought and culture (http://www.sacklunch.net/biography/S/Socrates.html). He began life as a sculptor.
Psychoanalytic criticism judges art “as the product of individuals who are shaped by their pasts, unconscious urges and social histories.” Structuralism judges artwork based on how all of its formal components are put together. Last is post-structuralist, which still judges artwork by its formal parts but takes many meanings out of it. I find psychoanalytic criticism to be most valuable. This is because the viewer can assign any meaning to the artwork. It allows the people to escape reality and find out the deeper meaning of the piece of art.
Must it evoke an emotion? Must it have a message enshrined in its intricacies? These questions cannot be answered without understanding what is ‘aesthetics’, and the role it plays in making art appreciable. When these questions are asked however it goes back to one fundamental question, that is; what counts as Art? Before these questions are ultimately answered it’s important to get a few definitions out of the way.