The Story of Art: 0000

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The Story of Art: 0000

The Story of Art: 0000

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Everything had to be represented from its most characteristic angle .. the head was most easily seen in profile .. a full face eye was planted into the side view of the face .. the shoulders and chest are best seen from the front” the whole temper of the country was opposed to the flights of fancy of Baroque designs and to an art that aimed at overwhelming the emotions” One of the first great civilizations arose in Egypt, which had elaborate and complex works of art produced by professional artists and craftspeople. Egypt's art was religious and symbolic. Given that the culture had a highly centralized power structure and hierarchy, a great deal of art was created to honour the pharaoh, including great monuments. Egyptian art and culture emphasized the religious concept of immortality. Later Egyptian art includes Coptic and Byzantine art. the guilds and corporations were usually wealthy companies who had a say in the government of the city .. but also did their best to make it beautiful .. they watched anxiously over the interests of their own members and therefore made it difficult for any foreign artist to get employment or to settle among them” Cezanne.. was a man of independent means and regular habits and was not dependent on finding buyers for his pictures”

every Roman had to burn incense in front of this bust [the emperor’s] in token of his loyalty and allegiance, and we know that the persecution of Christians began because of their refusal to comply” ie freedom to ‘design’, decorate, choose pleasing colours etc recedes … subsumed by concern with reality) 014 Tradition and Innovation: The 15th century in the North A good guess is “work which excels in the representation of the beautiful surface of things, of flowers, jewels or fabric, will be by a northern artist, most probably from the Netherlands; while a painting with bold outlines, clear perspective and a sure mastery of the human body, will be Italian”the taste of the French aristocracy of the early 18th century .. known as Roccoco: the fashion for dainty colours and delicate decoration” painting had ceased to be an ordinary trade the knowledge of which was handed down from master to an apprentice. Instead it had become a subject like philosophy to be taught in academies” If you do nothing, you will be auto-enrolled in our premium digital monthly subscription plan and retain complete access for 65 € per month. On Giovanni Battista Gaulli’s ceiling fresco The worship of the Holy Name of Jesus .. “in letting the picture thus break the frame, the artist wants to confuse and overwhelm us, so that we no longer know what is real and what illusion. A painting like this has no meaning outside the place for which it was made” the swiss painter Ferdinand Hodler (1853-1918) boldly simplified. his native scenery even further to achieve a poster-like clarity”

image-making in these early civilisations was not only connected with magic and religion but was also the first form of writing … pictures and letters are really blood-relations” 002 Art for Eternity: Egypt, Mespotamia, Crete On a woman choosing a hat –“it always has something to do with the way she sees herself and wants others to see her” there is no dramatic incident.. just three hard-working people in a flat field .. they are neither beautiful nor graceful. There is no suggestion of the country idyll in the picture. These peasant women move slowly and heavily.. his three peasant women assumed a dignity more natural and more convincing than that of academic heroes”The academies and exhibitions, the critics and connoisseurs, had done their best to introduce a distinction between Art with a capital A and the mere exercise of a craft” the ideal of the English 18th century was not the palace but the country house … Palladio’s [textbook from renaissance times] came to be considered the ultimate authority on all rules of taste in architecture … the ‘Palladian manner”” Gombrich, E. H. (Ernst Hans) (1990). The Story of Art (15thed.). Englewood Cliffs, NJ: Prentice-Hall. ISBN 0-13-849894-6. OCLC 21295847.

Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. in the past, a child in a painting had to look pretty and contented. Grown-ups did not want to know about the sorrows and agonies of childhood.. But Kokoschka would not fall in with these demands of convention” Venus of Willendorf; c. 25,000 BC; limestone with ochre colouring; height: 11cm; Natural History Museum ( Vienna, Austria) [10] the break in tradition .. beyond the French Revolution .. it was then , as we know, that artists had become self-conscious about style” For cost savings, you can change your plan at any time online in the “Settings & Account” section. If you’d like to retain your premium access and save 20%, you can opt to pay annually at the end of the trial.

Suitably he specialised in scenes of revelry, building in Breghel’s work. Life imitating art or vice versa?? They longed for a ‘New Art’ based on a new feeling for design and for the possibilities inherent in each material … Art Nouveau was raised in the 1890s” In the past an artist’s ‘work had always been as well defined as that of any other calling. There were always altar-paintings to be done, portraits to be painted; people wanted to buy pictures for their best parlours, or commissioned murals for their villas …. the break in tradition had thrown open to them an unlimited field of choice”

Despite this, he wielded “much artistic wisdom and skill… [for example] this art of distributing a mass of people, in apparently casual and yet harmonious groups .. owed much to the tradition of Italian art” the meaning of Copley’s evocation of the previous rebuff to royal pretensions was perfectly understood by all”…. he was an American artist … the Queen supposedly said “You have chosen, Mr Copley, a most unfortunate subject for the exercise of your pencil” At 90-odd, the prolific art historian is still going strong. His populist approach comes from his childhood in Vienna, where art was for everyone, not just for stuffed shirts."― The Mail on Sundaythe artist was not concerned with an imitation of natural forms, but rather with the arrangements of traditional sacred symbols” Did more tham any other writer in the last 100 years to introduce a wider public to a love of art. Successive generations of students have been drawn to The Story of Art, his erudite survey of Western art, and his big idea: "There is no such thing as art - there are only artists." An academic who stayed firmly outside his profession's charmed circle, his book was intended as a rallying cry against snobbery and elitism, and has remained a classic."― Antique Dealer and Collector's Guide The rue le Peltier is a road of disasters. After the fire at the Opéra, there is now yet another disaster there. An exhibition has just been opened at Durand-Ruel which allegedly contains paintings. I enter and my horrified eyes behold something terrible. Five or six lunatics, among them a woman, have joined together and exhibited their works”



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