Introduction to Art History

ART?

(my step-father and mother)

6CLARA PEETERS, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1’ 7 3/4” x 2’ 1 1/4”. Museo del

Prado, Madrid.

7JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670. Oil on canvas, 1’ 10” x 2’ 1”. Mauritshuis,

The Hague.

Taste

Taste

Taste as an aesthetic, sociological, economic and anthropological concept refers to cultural patterns of choice and preference regarding aesthetic judgments.

What determines aesthetic judgements?

What gives us certain tastes?

Is it really just a function of our “ingroup” bias?

And why should we even care about things we don’t like ?

Well, for one…..because art exists for more than one subgroup or individual….

Art is part of our Public (shared) Experience

ART is reflective of the HUMAN EXPERIENCE…good and bad.

Edvard Munch, “The Scream”1893, National Gallery, Oslo Norway.

Art Criticism

Liberal Arts

In classical antiquity, the "liberal arts" denoted the education worthy of a free person (Latin: liber, "free").

The freemen, mostly concerned about their rights and obligations as citizens, received a non-specialized, non-vocational, liberal arts education that produced well-rounded citizens aware of their place in society.

Socrates and Aristotle emphasized the importance of individualism, impressing upon their students the duty of man to form his own opinions through reason rather than indoctrination.

A slave market in Ancient Greece--

Liberal Arts vs. Dogma and Authority

The American Association for the Advancement of Science describes a liberal education in this way: "Ideally, a liberal education produces persons who are open-minded and free from provincialism, dogma, preconception, and ideology; conscious of their opinions and judgments; reflective of their actions; and aware of their place in the social and natural worlds.”

Liberally educated people are skeptical of their own traditions; they are trained to think for themselves rather than defer to authority.

ART is not just for interior design and we are not just “CONSUMERS”!

We are CITIZENS!

NOT SLAVES….

…..and this is why Museums and Galleries are so important.

ITS GOOD TO GET OUT OF THE HOUSE and AWAY FROM THE MARKETERS!!!

• ART HISTORY IS NOT ABOUT “TASTE”

In the News: Rick Scott not really into funding the Humanities through Public Education.

Spending money on science and math degrees can help Floridians find work and provide a return on taxpayers’ investments, Gov. Rick Scott said today in an interview on “The Marc Bernier Show” on WNDB-AM in Daytona Beach.

Scott said Florida doesn’t need “a lot more anthropologists in this state.”

“It’s a great degree if people want to get it. But we don’t need them here,” Scott said.

GENERAL EDUCATION REQUIREMENTS FOR DEGREES

• General Education is a grouping of courses selected from six different areas to ensure that students receive a well-balanced and rich education. Each degree offered by Palm Beach State College requires General Education courses.

• Both the B.A.S., B.S.N. and the A.A. degrees require 36 hours of General Education. A.S. degrees typically require 15 to 18 hours of General Education, but some degrees may have more General Education courses to meet program learning outcome requirements.

GENERAL EDUCATION PHILOSOPHY

• The General Education program at Palm Beach State College prepares the students for lifelong intellectual pursuit and responsible participation in a complex global society through a core curriculum that incorporates values, shapes attitudes and offers students a depth and breadth of learning that transcends the content of any one specific discipline.

GENERAL EDUCATION LEARNING OUTCOMES

• Communications: Develop effective communication skills for a variety of audiences.

• Global Awareness: Exhibit a sense of social, cultural and global responsibility.

• Critical Thinking: Engage in purposeful reasoning to reach sound conclusions.

• Information Literacy: Demonstrate the ability of find, evaluate, organize and use information.

• Scientific and Quantitative Reasoning: Apply mathematics and scientific principles to solve real-world problems.

• Ethics: Demonstrate the ability to make informed decisions based on ethical principles and reasoning.

• "Most of the claims of such broad-based shortages in the U.S. STEM work force come from employers of STEM personnel and from their lobbyists and trade associations," says Michael Teitelbaum, a Wertheim Fellow in science policy at Harvard University and a senior adviser at the Alfred P. Sloan Foundation. "Such claims have convinced some politicians and journalists, who echo them."

• Others also see something nefarious behind the crisis rhetoric.

• "This is all about industry wanting to lower wages," says Norman S. Matloff, a professor of computer science at the University of California at Davis. Mr. Matloff has investigated how IT employers benefit by raising the numbers of lower-paid foreign STEM laborers and by sending offshore the engineering and STEM manufacturing jobs of mostly older American workers. "We have a surplus of homegrown STEM workers now," he says. "We've had it in the past and we're likely to have it in the future."

• "The Washington consensus is that there is a broad-based shortage of STEM workers, and it's just not true."

TRADE SCHOOL

• A vocational school (or trade school or career school), providing vocational education, is a school in which students are taught the skills needed to perform a particular job.

• Traditionally, vocational schools have not existed to further education in the sense of liberal arts, but rather to teach only job-specific skills, and as such have been better considered to be institutions devoted to training, not education.

• That purely vocational focus began changing in the 1990s "toward a broader preparation that develops the academic" and technical skills of students, as well as the vocational.

• Typically, most career colleges specifically design their curriculum for fields that have the best current and future growth potential.

ART IS POWERFUL

The reason art can please, is also because it can displease…..

ART IS POWERFUL

…. it can alternately challenge or reinforce the value system of any given culture.

It is one of many place where a peoples discovers who they wish to be….

EGYPT

Menkaure and Queen KamerernebtyOld Kingdom, Ancient Egypt4th Dynasty2548-2530 BCE

Egyptians Valued STABILITY…..

It’s civilization lasted roughly 2500-3000 years.

ART and BEAUTY

Art should comfort the disturbed and disturb the comfortable!

It has MANY purposes.

Official North Korean Art

Socialist Realism……pretty as a picture???

NOT SO PRETTY

Soviet Union, Stalin's regime (1924-53): 20 million DEAD.

“As long as art is the beauty parlor of civilization, neither art nor civilization is secure.”-John Dewey

Alex Schaeferhttp://alexanderschaefer.blogspot.com/

Francisco Goya, The Disasters of War.

This print was not really meant to “hang” over the couch….

The Buddhas of Bamiyan were two 6th century monumental statues of standing buddhas carved into the side of a cliff in central Afghanistan. They were intentionally destroyed in 2001 by the Taliban, on orders from leader Mullah Mohammed Omar, after the Taliban government declared that they were "idols".

ART CHANGES CULTURE

“Degenerate Art”

• BAD • GOOD

The Nazi’s conflated Modernist art with mental and physical retardation.

BEGINEurope in the ‘Dark Ages”

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DONATELLO, David, late 1440–1460. Bronze, 5’ 2 1/4” high. Museo Nazionale del Bargello, Florence.

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SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli Uffizi, Florence.

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MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1424–1427. Fresco, 21’ 10’ 5/8” x 10’ 4 3/4”.

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PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.

RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, 19’ x 27’. 90

91LUCAS CRANACH THE ELDER, Allegory of Law and Grace, ca. 1530. Woodcut, 10 5/8” x 1’ 3/4”. British Museum, London.

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GIANLORENZO BERNINI, David, 1623. Marble, 5’ 7” high. Galleria Borghese, Rome.

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GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble, height of group 11’ 6”.

94CARAVAGGIO, Calling of Saint Matthew, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”. Contarelli Chapel, San Luigi dei

Francesi, Rome

TITIAN, Venus of Urbino, 1538. Oil on canvas, 3’ 11” x 5’ 5”. Galleria degli Uffizi, Florence. 95

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PETER PAUL RUBENS, Consequences of War, 1638–1639. Oil on canvas, 6’ 9” x 11’ 3 7/8”. Palazzo Pitti, Florence..

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JAN VAN EYCK, Man in a Red Turban, 1433. Oil on wood, 1’ 1 1/8” X 10 1/4". National

Gallery, London.

99REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”. Mauritshuis, The Hague.

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PIETER CLAESZ, Vanitas Still Life, 1630s. Oil on panel, 1’ 2” x 1’ 11 1/2”. Germanisches Nationalmuseum, Nuremberg.

103JEAN-BAPTISTE GREUZE, Village Bride, 1761.

104JACQUES-LOUIS DAVID, Oath of the Horatii, 1784.

Henry Fuseli, THE SHEPHERDS DREAM, 1793.

THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819.

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111JEAN-FRANÇOIS MILLET, The Gleaners, 1857.

112ÉDOUARD MANET, Le Déjeuner sur l’Herbe (Luncheon on the Grass), 1863.

113ÉDOUARD MANET, Olympia, 1863.

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THOMAS EAKINS, The Gross Clinic, 1875.

116JOHN EVERETT MILLAIS, Ophelia.