1. What is Art? What is History? HOW DO THEY MIX?! CAN THEY?

2. THEY DO! Although created in the past, an artwork continues to exist in the present, long surviving its times. Art was not always made for sale. ◦ Artists created paintings, sculptures, and other objects for specific patrons and/or to appease deities.  SELLOUTS

3. THE ROLE OF ART HISTORY The role of the Art Historian is to determine the context of a piece of art. Context: ◦ The set of circumstances or facts that surround a particular event, situation, etc.

4. LETS BE ART HISTORIANS Pretend that you are an Art Historian in 3015 and you uncovered an archive containing the following video.

5. HOW TO ANALYZE ART Questions Art Historians Ask 1. HOW OLD IS IT? ◦ In order for Art Historians understand the context of a piece, they have to know WHEN IT WAS MADE. ◦ Problematic at times because it is difficult to establish an exact date for some pieces of art.

6. HOW TO FIND AN OBJECT’S AGE Physical evidence Documentary evidence Internal evidence Stylistic evidence

7. HOW TO ANALYZE ART Questions Art Historians Ask 1. WHAT IS ITS STYLE? ◦ Style: an artist’s distinctive manner of producing art

8. DIFFERENT TYPES OF STYLE Period Style: the characteristic artistic manner of a specific time ◦ Usually within a distinct culture

9. DIFFERENT TYPES OF STYLE Regional Style: The term art historians use to describe variations in style tied to geography. ◦ Like an object’s date its place of origin can significantly determine its character.

10. DIFFERENT TYPES OF STYLE Personal Style: The distinctive manner of individual artists or architects, often decisively explains stylistic discrepancies among monuments of the same time and place. The different kinds of artistic styles are not mutually exclusive. For example, an artist’s personal style may change dramatically during a long career.

11. HOW TO ANALYZE ART Questions Art Historians Ask WHAT IS ITS SUBJECT? ◦ Subject: The central focus of the piece.  Its subject matter, encompassing the story, or narrative; the scene presented; the action’s time and place; the persons involved; and the environment and its details.  SPECIAL NOTE!  A piece can have more than one subject OR no subject at all!

12. Piece by Jackson Pollock. Who/What is the subject here?

13. The Sistine Chapel by Michelangelo. Who is the subject here?

14. Christ the Judge

15. Angels and Saints

16. St Bartholomew holds his own skin

17. St John The Baptist St Peter

18. St Sebastian, St Blaise and St Catherine

19. Baigio da Cesena as Minos

20. The boatman Charon

21. The Damned are cast into the Underworld

23. HOW TO ANALYZE ART More Questions Art Historians Ask WHO MADE IT? WHO PAID FOR IT? Patrons dictate the content and shape the form of artworks

24. Augustus wearing the corona civica, early first century CE.Marble, 1’5” high. Glyptothek, Munich.

25. THE VOCABULARY OF ART HISTORIANS FORM AND COMPOSITION ◦ Form refers to an object’s shape and structure, either in two dimensions (for example, a figure painted on a canvas) or in three dimensions (such as a statue carved from a marble block). Two forms may take the same shape but may differ in their color, texture, and other qualities. ◦ Composition refers to how an artist organizes (composes) forms in an artwork, either by placing shapes on a flat surface or by arranging forms in space.

26. VOCABULARY MATERIAL AND TECHNIQUE ◦ Materials are what the artists use to develop their work ◦ The processes artists employ, such as applying paint to canvas with a brush, and the distinctive, personal ways they handle materials constitute their technique.

27. VOCABULARY

28. VOCABULARY COLOR ◦ Composed of two things: Light and Hue  Light in art includes using actual light--the lighting of artwork, how a light source might interact with an artwork, the use of reflections, and using light itself as an artistic medium--as well as using implied light to create the illusion of light in two-dimensional work.  Hue is the property of colors by which they can be perceived as ranging from red through yellow, green, and blue, as determined by the dominant wavelength of the light.

30. VOCABULARY TEXTURE ◦ Texture refers to the quality of a surface, such as rough or shiny.  NOTE: Not all pieces of art have uniform texture! Pieces that have a mixed variety of textures are known as a collage.

31. VOCABULARY SPACE, MASS, AND VOLUME ◦ Space is the bounded or boundless “container” of objects. For art historians, space can be the literal three-dimensional space occupied by a statue or a vase or contained within a room or courtyard. Or space can be illusionistic, as when painters depict an image (or illusion) of the three- dimensional spatial world on a two- dimensional surface.

32. VOCABULARY Mass and Volume describe three- dimensional objects and space. ◦ Mass is the bulk, density, and weight of matter in space ◦ Volume is the space that mass organizes, divides, or encloses.

33. SPACE Space is an area that an artist provides for a particular purpose. Space includes the background, foreground and middle ground, and refers to the distances or area around, between, and within things. There are two kinds of space: negative space and positive space. ◦ Negative space is the area in between, around, through or within an object. ◦ Positive spaces are the areas that are occupied by an object and/or form.

35. Cai Guo-Qiang: Inopportune: Stage Two

36. VOCABULARY PERSPECTIVE AND FORESHORTENING ◦ Perspective is one of the most important pictorial devices for organizing forms in space. Throughout history, artists have used various types of perspective to create an illusion of depth or space on a two-dimensional surface. ◦ Foreshortening is to reduce or distort (parts of a represented object that are not parallel to the picture plane) in order to convey the illusion of three-dimensional space.

37. Claude Lorrain, Embarkation of the Queen of Sheba, 1648. Oil on canvas,

38. Peter Paul Rubens, Lion Hunt

39. VOCABULARY PROPORTION AND SCALE ◦ BOTH are concerned with size. ◦ Scale refers to the size of an object (a whole) in relationship to another object (another whole). ◦ Proportion refers to the relative size of parts of a whole (elements within an object). We often think of porportions in terms of size relationships within the human body.

41. Michelangelo's David: Powerful in size; ideal in proportion 13' 5" H

42. Traditional Chinese Jade Sculpture: The scale of humans in the world Artist Unknown Jade Mountain Illustrating the Gathering of Poets at the Lan T'ing Pavilion 1784 Light green jade 22 1/2 x 38 3/8 in. (57.15 x 97.47 cm) Detail of Jade Mountain Illustrating the Gathering of Poets at the Lan T'ing Pavilion

43. EVEN MORE VOCABULARY! CARVING AND CASTING Sculptural technique falls into two basic categories, subtractive and additive. ◦ Carving is a subtractive technique. The final form is a reduction of the original mass of a block of stone, a piece of wood, or another material. Wooden statues were once tree trunks, and stone statues began as blocks pried from mountains.

44. Michelangelo Buonarroti, Unfinished Captive, 1527–1528. Marble, 8 71–2 high. Galleria dell’Accademia, Florence. Michelangelo thought of sculpture as a process of “liberating” the statue within the block of marble.

45. EVEN MORE VOCABULARY! In additive sculpture, the artist builds up the forms, usually in clay around a framework. Another form of additive sculpture has the artist fashion a mold (a hollow form for shaping), also known as a casting, for a fluid substance such as bronze or plaster. The artist then welds the

46. Head of a warrior, detail of a statue from the sea off Riace, Italy, ca. 460–450 BCE. Bronze, full statue 6’ 6” high. Museo Nazionale della Magna Grecia, Reggio Calabria. The sculptor of this life-size statue of a bearded Greek warrior cast the head, limbs, torso, hands, and feet in separate molds, then welded the pieces together and added the eyes in a different material.

47. … AND LAST, BUT NOT LEAST, ARCHITECTURAL DRAWINGS An architectural drawing is a technical drawing of a building or a building project. ◦ Buildings are groupings of enclosed spaces and enclosing masses. Architects can represent these spaces and masses graphically in several ways. These ways include plans, sections, elevations, and cutaway drawings.

48. THE LAST BIT A plan, is a map of a floor. It shows the placement of a structure’s masses and the spaces they circumscribe and enclose. A section, depicts the placement of the masses as if someone cut through the building along a plane. ◦ Like if it was a vertical plan