Art Appreciation Final
E. Pulman, Maori Chief, Ngapuhl, Hati Wira, Takahi Bay of Islands, 1873 (Art of the Pacific Islands/Maori)
-Visual Appearance: Acquired these tattoos over their lifespan- linear tattoos go along with facial structure. Valued identity in relation to body- about physical characteristics that were unique to that person. Tattoos are very personalized - used as a signature (if anything legal showed up). -Material Used: The 19th century also witnessed the emergence of photography as a powerful tool for documenting and representing indigenous peoples around the world. Photographers like Edward Pulman played significant roles in shaping public perceptions of indigenous cultures, including the Maori. -Historical Context: The 19th century was a period of significant change and upheaval for the indigenous Maori people of New Zealand due to European colonialism. Chiefs such as Hati Wira played crucial roles in navigating the complex political, social, and economic changes brought about by colonialism. Tattoos serve as markers of cultural identity, heritage, and belonging. The patterns and designs of the moko often convey the wearer's tribal affiliations, familial connections, and social status within Maori society. -Function: Pulman's portraits of Maori chiefs, such as Hati Wira, contributed to the construction of visual narratives about Maori identity, leadership, and cultural authenticity during this period.
Giotto, Lamentation, c. 1305 (Italian Renaissance)
-Visual Appearance: Figures are arranged in a triangular formation, with the body of Christ at the apex and figures descending down either side. This composition draws the viewer's eye toward the central figure of Christ and emphasizes the emotional weight of the scene. Artist conveys the emotional depth of the scene through the expressions and gestures of the figures. -Material Used: Fresco mural - pigment is applied to freshly laid or wet lime plaster. -Historical Context: "Lamentation" is a religious subject depicting the mourning of Christ after his crucifixion, a theme that was central to Christian devotion and spirituality in medieval and Renaissance Europe. During this period, religious art served as a powerful tool for conveying theological concepts, inspiring devotion, and educating the faithful. Giotto's "Lamentation" would have been commissioned by religious patrons and intended for display in churches or religious settings, where it would serve as a focal point for prayer and contemplation. His emphasis on naturalism, emotion, and narrative clarity set new standards for artistic expression and paved the way for the Renaissance ideals of humanism, individualism, and scientific inquiry. -Function: served primarily as a religious devotional image, intended to inspire piety, meditation, and emotional engagement with the Christian narrative of Christ's crucifixion and burial.
Kanaga mask from Mali, Dogon Culture, early 20th century, (Art of Africa/Dogon)
-Visual Appearance: Intricate geometric design, consisting of abstract shapes and patterns arranged in a symmetrical composition. -Material Used: Leather strapping and wood - disposable. -Historical Context: The Kanaga mask is closely associated with Dogon cosmology, representing celestial forces, solar symbolism, and ancestral spirits in their religious worldview. Its closely associated with specific social groups, such as male initiation societies known as the Awa. The wearing of the Kanaga mask signifies membership in these societies and reinforces social cohesion, identity, and solidarity within the Dogon community. -Function: Kanaga masks are used in a variety of rituals and ceremonies within Dogon society, including funerals, initiations, agricultural festivals, and rites of passage. During these ceremonies, the masks are worn by male members of the Dogon community who perform elaborate dance movements accompanied by music and chanting. The masks are believed to embody spiritual forces and ancestral energies, serving as mediators between the human and supernatural realms.
Pyramids of Giza, Egypt, c. 2580 to 2510 BCE (Ancient Egypt)
-Visual Appearance: Massive in size. Remarkable geometric precision. The sides of the pyramids are aligned with the cardinal points of the compass, demonstrating the advanced engineering and architectural knowledge of the ancient Egyptians. -Material Used: Built using millions of limestone blocks, some weighing several tons each. Ascending steps formed by the stacking of stone blocks -Historical Context: Built during the Old Kingdom period of ancient Egypt. Egypt experienced significant economic prosperity, driven by agricultural surpluses generated by the fertile Nile Delta. Constructed during a period of political stability and centralized rule in ancient Egypt. Pharaohs wielded absolute power and were considered divine rulers, with their authority symbolized by the monumental pyramids. -Function: Height of pyramid- trying to get closer to spiritual realm. Constructed as eternal monuments to honor and perpetuate the divine kingship of the pharaohs, serving as monumental tombs for their mummified remains and housing their treasures and belongings for the afterlife. We know a lot about their afterlife because of mummies and objects they were buried with- history found in tombs.
Head from Rafin Kura, c. 500 BCE - 200 CE (Art of Africa/Nok)
-Visual Appearance: Naturalistic portrayal of the human face. It depicts a head with detailed facial features, including eyes, nose, mouth, and ears. Exhibits the distinctive stylistic characteristics of Nok art. -Material Used: Sculpted from terracotta, a type of clay-based ceramic material. Artist would have shaped the clay by hand, using simple tools such as wooden sticks or bone implements to carve and model the details of the face. -Historical Context: May have served as a portrait of a specific individual, such as a revered ancestor or community leader, and been used in rituals, ceremonies, or funerary practices. Culture valued identity in the body- where your mind and spirit reside -Function: The creation of portraits served to honor and commemorate important figures and ancestors. The detailed facial features and expressive qualities of the head suggest that it may have been intended to capture the likeness and personality of a particular person.
Standard of Ur, v/ 2600 - 2400 BCE (Ancient Mesopotamia—Sumeria)
-Visual Appearance: One side depicts peace and prosperity, while the other shows scenes of war and conflict. Panels provide a snapshot of life in ancient Mesopotamia, showcasing various aspects of society. The figures on the Standard of Ur are arranged hierarchically, with larger figures representing individuals of higher status. -Materials Used: wooden box inlaid with intricate mosaics made of shell, lapis lazuli, and red limestone -Historical Context: "Mesopotamia" means between rivers. Ur was one of the most important cities in ancient Mesopotamia and served as a center of culture, trade, and political power. This was found in Royal Cemetery -Function: Likely ceremonial and symbolic. May have been used in religious rituals, royal ceremonies, or as a symbol of political authority and power.
Gianlorenzo Bernini, David, 1623 (Baroque)
-Visual Appearance: Portrays David in the midst of the battle. He is shown in mid-stride, with his body twisted and contorted as he prepares to hurl the stone from his sling. This dynamic pose creates a sense of immediacy and drama, capturing the intensity of the moment. People are meant to walk around it- narrative in the round. -Material Used: sculpted from marble, a material that Bernini mastered with extraordinary skill. The smooth, polished surface of the marble contrasts with the rough, textured details of David's skin and clothing, creating a sense of tactile realism. The play of light and shadow across the surface of the sculpture enhances its three-dimensional quality, adding to its visual impact. -Historical Context: The Baroque era, which spanned the 17th and early 18th centuries, was characterized by a shift in artistic and cultural sensibilities. It was a period of dramatic contrasts, characterized by intense emotion, and dynamic movement. Bernini's "David" was created in the context of the Catholic Counter-Reformation, a period of religious revival and reform within the Catholic Church in response to the Protestant Reformation -Function: The sculpture serves as a visual reminder of the triumph of good over evil and the power of faith. Baroque art played a central role in promoting Catholic doctrine and inspiring religious devotion among the faithful.
Colossal Head, c. 800-400 BCE (Ancient American/Olmec)
-Visual Appearance: Sheer size of the heads contributes to their imposing presence and monumental character. depict male individuals with broad faces, prominent cheekbones, and full lips. The facial expressions are often stoic or impassive, with closed mouths and almond-shaped eyes. The noses are broad and flattened, and the ears are often depicted as small and close to the head. The features are simplified and stylized, with emphasis placed on geometric forms and bold, abstract shapes. This simplicity of design enhances the monumentality of the sculptures and creates a sense of timelessness and universality. Sculpture in the round. -Material Used: Carved from basalt, a volcanic rock known for its durability and hardness. -Historical Context: The Olmec civilization was characterized by complex social hierarchies and centralized political authority. Olmec society was likely organized into chiefdoms or small kingdoms, with powerful rulers exerting control over labor, resources, and religious institutions. The Colossal Heads may have functioned as symbols of rulership or status, commemorating powerful leaders or commemorating significant events in the political history of the Olmec. Archaeologists left the sculpture "insitu" (left it in the ground for a while). -Function: The Colossal Heads are believed to have held significant cultural and religious significance for the Olmec civilization. They may have represented rulers, leaders, or deities, serving as markers of political authority or religious devotion.
Jan van Eyck, Arnolfini Wedding Portrait, 1434 (Northern Renaissance)
-Visual Appearance: The attention to detail and realism is striking in the painting. Each detail contributes to the overall sense of material richness and visual complexity. Whole painting is a marriage contract. Lots of symbolism (2 additional figures in mirror reflection represent witnesses, dog represents loyalty, oranges represent fertility. The clasped hands of the couple and their attentive gazes toward each other suggest a deep emotional connection. -Material Used: likely a wooden panel, commonly made from oak. Wooden panels were a common support for painting during the Northern Renaissance. Pioneering artists in the use of oil paint. -Historical Context: The Northern Renaissance had a distinct emphasis on naturalism, detail, and religious symbolism. Jan van Eyck was one of the leading figures of the Northern Renaissance, known for his meticulous attention to detail and innovative use of oil paint. The presence of the lit candle, the convex mirror with its reflection of the figures, and other symbolic elements in the painting have been interpreted as allusions to themes of fertility, prosperity, and divine presence -Function: The primary function of the painting is to commemorate a marriage and display wealth and cultural status.
Polykleitos, Doryphoros (Spearbearer), c. 4th century BCE (Classical Ancient Greece)
-Visual Appearance: The sculpture depicts a youthful, athletic male figure with idealized proportions and musculature. Every muscle and sinew is meticulously sculpted, creating a sense of harmony, balance, and physical beauty. Standing in contrapposto- leaning on hip creates a sense of dynamic movement and naturalism. The contrapposto stance was a revolutionary innovation in ancient Greek sculpture, introduced by Polykleitos himself. -Material Used: crafted in bronze using the lost-wax casting technique, a common method for producing large-scale sculptures in ancient Greece -Historical Context: This sculpture is considered one of the masterpieces of Classical Greek sculpture, a period known for its emphasis on naturalism, idealism, and humanism. Greek artists sought to represent the human form with greater anatomical accuracy and emotional depth, reflecting a newfound interest in the individual and the human experience. The Greeks believed in a pantheon of gods and goddesses who inhabited Mount Olympus and exerted control over various aspects of the natural world and human affairs. While the gods were seen as powerful beings with supernatural abilities, they were also depicted with human-like qualities, including emotions, desires, and flaws. -Function: Celebrates the ideals of physical beauty, strength, and athleticism that were highly valued in ancient Greek society. Focuses on imperfection in humans
Raimondi Stele, Chavin de Huantar, 7th century BCE (Ancient American/Chavin)
-Visual Appearance: Various geometric patterns and motifs, including interlocking circles, spirals, and zigzag lines. These abstract designs are characteristic of Chavín art and may have held cosmological or symbolic meaning related to the natural world, cycles of time, or spiritual beliefs. -Material Used: A carved stone slab, or stele, with a rectangular shape and a flat surface. It stands vertically and is decorated with intricate relief carvings on one side. Bas-relief, or low relief, is a sculptural technique in which figures or designs are carved into a flat surface so that they project only slightly from the background -Historical Context: The composite creature represented on the stele is believed to embody supernatural powers and may have served as a symbol of fertility, protection, or divine authority. Its serpentine features suggest a connection to the underworld or spiritual realm, while its feline attributes evoke themes of strength, agility, and prowess. Within the broader cultural context of Chavín de Huantar, an ancient religious and ceremonial center located in the Andean highlands of Peru. The Chavín culture is known for its sophisticated art, architecture, and religious practices. The imagery likely reflects the cosmological beliefs and ritual practices of the Chavín people -Function: Steles like this were commonly used in ancient American cultures as markers or monuments, often depicting religious or ceremonial imagery.
Bonampak Mural, original 8th century CE, (Ancient American/Maya)
-Visual Appearance: Vibrant and bold colors. Depict a variety of detailed scenes and subjects, including ritual performances, courtly ceremonies, and battle scenes. The subject matter is a sacrifice. Was painted on a wall in a building in a doorway and most important action is placed in the middle in the doorway. -Material Used: Fresco mural (paint while the plaster is still wet) -Historical Context: A set of ancient Maya frescoes located in the Temple of the Murals in the archaeological site of Bonampak, Mexico. Provide glimpses into the lives and activities of these rulers, depicting scenes of courtly ceremonies, ritual performances, and military conquests. The murals may have served to legitimize the authority of the ruling dynasty and reinforce their divine right to rule. Scenes often depict individuals wearing elaborate costumes, headdresses, and jewelry, indicating their high status and noble lineage. The murals also show scenes of warfare and captives, suggesting the presence of social stratification and conflict within Maya society. -Function: A lot of times painted these to dedicate a new temple/a battle they won
Tertiary Colors
Created by mixing a primary color with a neighboring secondary color
Secondary Colors
Two primary colors combined in equal amounts.
Shape
a 2-dimensional area with the boundaries defined by lines or suggested by changes in color or value
Style
a characteristic way in which an artist or group of artists uses visual language to give a work an identifiable form of visual expression
Shade
a color darker in value than its purist state
Tone
a color that is weaker than its brightest or most pure state
Temperature
a description of color based on our associations with warmth and coolness
Contrast
a drastic difference between such elements as color or value when they are present together
Plane
a flat surface, often implied in a composition
In the round
a free-standing sculpted work that can be viewed from all sides
Implied Line
a line that is not actually drawn but is suggested by elements in the work
Line
a mark or implied mark between 2 endpoints
Rhythm
a principle of art that is the regular or ordered repetition of elements in a work of art
Mass
a volume that has or gives the illusion of having weight, density, and bulk
Highlight
an area of lightest value in a work
Pattern
an arrangement of predictably repeated elements
Scale
an object that can be defined in 3 dimensions relative to another object or artwork, or to a system of measurement
Form
an object that can be defined in three dimensions (height, weight, and depth)
Freestanding
any sculpture that stands separate from walls or other surfaces so that it can be viewed from a 360-degree range, another way to describe a sculpture in the round
Tint
color lighter in value than its purist state
Analogous Colors
colors adjacent to each other on the color wheel
Neutral
colors made by mixing complementary hues
Orthogonal
in perspective systems, imaginary sightline extending from forms to the vanishing point
Elements of Art
the basic vocabulary of art--line, form, shape, volume, mass, color, texture, space, time and motion, and value
Focal Point
the center of interest or activity in a work of art, often drawing the viewer's attention to the most important element
Pigment
the colored material used in paints, often made from finely ground minerals
Perspective
the creation of the illusion of depth in a 2-dimensional image by using mathematic principles
Chroma
the degree of purity of a color
Space
the distance (real or illusionary) between identifiable points or planes
Variety
the diversity of different ideas, media, and elements in a work
Unity
the imposition of order and harmony on a design
Value
the lightness or darkness of a plane or area
Medium
the material on or from which an artist chooses to make a work of art, for example canvas and oil paint, marble, engraving, video, or architecture
Color
the optical effect caused when reflected white light of the spectrum is divided into separate wavelengths
Composition
the overall design or organization of a work of art
Foreground
the part of a work depicted as nearest to the viewer
Background
the part of a work depicted furthest from the viewer's space, often behind the main subject matter
Proportion
the relationship in size between a work's individual parts and the whole
Volume
the space filled by or enclosed by a three dimensional figure or object
Picture Plane
the surface of a painting or drawing
Ground
the surface or background onto which an artist paints or draws
Texture
the surface quality of a work, for example fine/coarse, detailed/lacking detail, rough/smooth, etc
Principles of Art
the ways the elements of art are constructed in a work of art--contrast, balance, unity, variety, rhythm, emphasis, pattern, scale, proportion, and focal point
Primary Colors
three basic colors from which all others are derived (red, yellow, and blue)
Geometric Form
three dimensional form composed of regular planes and curves
Organic Form
three dimensional form made up of unpredictable, irregular planes that suggest the natural world
