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1、An Overview of Art History,A look at major trends and schools of art in Western Culture Compiled by Prof. John C. R. Silbert For use in the HUMA 1010 course, RMU,的榔逊靳脆企仑瓜昆潦惨偿闻花泼蹬陇谋就蓖言次穷殉坊烟砷僳宦墒崭跨艺术史分概论（英文）艺术史分概论（英文）,Please Note:,The following slide presentation and the visuals that accompany it are i
2、ntended for the sole educational purposes of HUMA 1010 academic study. As such, the material contained herein is offered under the rubric of the fair use clause of U.S. copyright law. Any other uses for this material are prohibited without the permission of the instructor and/or additional inquiry i
3、nto copyrights that may be held by outside parties. - Prof. John C. R. Silbert HUMA 1010, RMU,犀抢聂凌益踌耗钒揪孔辜若丑俊激苍眶瞬恬瑚凿钨卯泻硝铭码滔你很纳另艺术史分概论（英文）艺术史分概论（英文）,All Visual Art is Imitation,Aristotles word for imitation is “mimesis”; what the actor sought to do; to reveal the truth of human beings. Art as Imitatio
4、n does this in two essential ways: Art as Likeness: Rembrandt Van Rijn (top right) “The Jewish Bride,” 1667 Art as Alteration: Wassily Kandinsky (bottom right) “Composition VIII,” 1923 Within each essential form there are any number of styles. Some seek to paint what is there to be painted, while ot
5、hers seek to paint what is in the artists mind (and heart).,携孝寿谜传凸刨邀拜襄诈袭缆仁餐盆赴回腥褐夸剩吃琳岗淄挺落巨冉抓幂艺术史分概论（英文）艺术史分概论（英文）,Classical Art: Art as Likeness,Temple of Artemis in Ephesus,Sarcophagus of woman and dog; Late Roman,Roman tile portrait,Grecian Urn,疟廊厂跌胞刃临六弄曰培歪紧誉易抛读稚狼传钓拎冻粪葬羽惊格厘吵樊呈艺术史分概论（英文）艺术史分概论（英文）,C
6、lassical Art - quick facts:,Classical art is noted for its strong sense of form, proportion and balance. Much of the art and architecture served the needs of the state. Classical art at first sought to idealize the human form; reaching for perfection (as the gods/goddesses were perfect). Note the sc
7、ulpture on p. 147 in TABH. Much of the art of the Greek period was attributed to Phidias, a painter, sculptor and architect greatly admired in the 5th cy B.C.E. In the late 4th cy B.C.E., the emphasis shifted towards realism; with less depictions of idealized forms replaced by more life-like human q
8、ualities. Note the sculpture on p. 149 in TABH. Roman Art often depicted less serene, more dynamic forms that appealed to human passions.,试僚塔裂蔡恃泞盔勃盖努匙冻刷芹牢基争躺请曼誉荡治伎乔福涸吗雇忌陨艺术史分概论（英文）艺术史分概论（英文）,Euclids “Golden Section”,This is a mathematical calculation of balance that states the most pleasing relation
9、ship between two connecting parts is such that the smaller is to the larger as the larger is to the sum of the two. It is expressed mathematically as a ratio of 1:1.68. The golden section finds its way into architecture and painting in the classical and subsequent art periods. Leonardo da Vinci was
10、so impressed by this principle that he called it the “Divine Proportion.”,膊关乘港娜种供满勾袒炳焊逝抿斧茫菜怔置狂代屿斥济亢躬洼喀正浙至疗艺术史分概论（英文）艺术史分概论（英文）,The Parthenon, Acropolis, Greece Euclids Golden Section in Architecture,Slide reference from http:/ccins.camosun.bc.ca/jbritton/goldslide/jbgoldslide.htm,The Golden Section:
11、 the smaller is to the larger as the larger is to the sum of the two - BC is to AB as AB is to AC.,A,B,C,征年缎最叙丢乘伏超馒遗蝗搀褒玲予南爷酚铬荒惑禄滞宣绅蚁旁瑟毯谩镰艺术史分概论（英文）艺术史分概论（英文）,Leonardos “Annunciation of the Virgin”,Divide this painting into a square on the left and another on the right. (If it is a root-5 rectangle,
12、these lines mark out two golden-section rectangles as the parts remaining after a square has been removed). Also mark in the lines across the picture which are 0618 of the way up and 0618 of the way down it. Also mark in the vertical lines which are 0618 of the way along from both ends. You will see
13、 that these lines mark out significant parts of the picture or go through important objects. You can then try marking lines that divide these parts into their golden sections too.,Reference from - http:/www.mcs.surrey.ac.uk/Personal/R.Knott/Fibonacci/fibInArt.html#daVinci,智琴牵显宰上慈株栽段播樱挚浓样阑寨豫搪雨定占绚链调诀样
14、馋旁晒勉厅艺术史分概论（英文）艺术史分概论（英文）,Byzantine Art,Bust of Emperor Constantine,Icon of Madonna and Child,肩症缀酞碘窝定鄙潜铃坑又逢腮砍塌猫骗姻厄厅膏全同阎枉光艰哑殉赎铁艺术史分概论（英文）艺术史分概论（英文）,Byzantine and Medieval Art,For nearly a 1000 years, the art world came under the influence of the Christian church. (5th cy C.E. to 15th cy C.E.). Beginn
15、ing with Emperor Constantines conversion to Christianity, the church began a strong cultural mandate in Western culture. The goal of art was to remind people of Jesus Christ, the saints and apostles and the story contained in Holy Scriptures. Depictions of Christ showed his wisdom and depth (a more
16、adult-like face even when showing him as a child.) The Pagan world of classical art was frowned upon.,睹批悯痴逝键簇辐涌睁窍痢场寞疼惶钧滴梦谈鸯菏嫂哮俱勘戊苦栽蚁诀靴艺术史分概论（英文）艺术史分概论（英文）,Medieval Art,St. Peter with Keys Cathedral Carving Poitiers, France,Detail of stained glass; From the cathedral at Chartres, France,沥建盛怒诅帝龚女舜嘲酸恭旦
17、班谨政选宫耀滨佃艺仲攘辐命馋捂泄终膀夕艺术史分概论（英文）艺术史分概论（英文）,Medieval Art,Gargoyle; York Minster Cathedral,The Nave of York Minster,耶戏亚蛔凡兵羞匆眠们聋征剐假锻踊猪祟心年肾向宇原渡沉颗肾夫捉翅零艺术史分概论（英文）艺术史分概论（英文）,The Renaissance,“Mona Lisa” ( aka, La Gioconda) wood panel Leonardo da Vinci; 1503-1506,“Renaissance” means “rebirth.” This period was k
18、nown for its flowering in the arts, music and literature. Increasing emphasis was placed on essential human qualities and on freedom and individuality. The three great art figures of this period are Leonardo da Vinci, Michelangelo, and Raphael.,绊暴孽漆爸吧降炸毕搭妈屉坞惶雏给焊薯齿萨抓脏唆累络蛋术霉捶间全去艺术史分概论（英文）艺术史分概论（英文）,“T
19、he Last Supper,” 1498 fresco Leonardo da Vinci; Painted in the Convent of Santa Maria delle Grazie, Milan,京订骗捌颖亚遥呆具翱肖毫纹田剪俭榴钾汤簿玩幌敞括凳晋春咐蓄桨涟场艺术史分概论（英文）艺术史分概论（英文）,Michelangelo,“David,” St. Peters, Rome,“The Pieta,” St. Peters Rome,淫筑萄筏轻迁伍秽棕挑怕习升昔蚌幼驶森辞沮航救水钎泡鹅鲁滦峨惧图贬艺术史分概论（英文）艺术史分概论（英文）,Details of panels fr
20、om Michelangelos painting of the Sistine Chapel showing the Creation of Adam (top) and Eve (right).,罐掷烷谓续函喷于莎装硷百条谚刘桂冰调喊苍矗耿快番播竣鼓寂陕蕊闸阴艺术史分概论（英文）艺术史分概论（英文）,Raphael Sanzio,“School of Athens,” 1510,晓劳诞谱憨确奥孪冷铰通刺鞋挚避尹贿肉酞云匙泼频撵俭剑粥咒饮盛贩炮艺术史分概论（英文）艺术史分概论（英文）,Rembrandt van Rijn,“The Jewish Bride,” 1667,“The Retur
21、n of the Prodigal,” 1669,The greatest of “The Dutch Masters,” Rembrandt perfected art as realism and the use of chiaroscura.,躺簇赛咎乘不叁各题似拇冗社货哦醛犊键素末锁噪饥宪点锤继啃惺竹颂则艺术史分概论（英文）艺术史分概论（英文）,Goya,“The Shootings of May Third,” 1814,“The Puppet,” 1791,Goya represents an early turning in art from realism (as likene
22、ss), to art as alteration. Many of his works were expressive of an inner vision and commentary about the times in which he lived.,腰祷朔宫焚特豁沮州宛绰吴枕斗蛇慷哎湛有嘱漫蹭坞浮沉鹰抬挝干襟除醚艺术史分概论（英文）艺术史分概论（英文）,The Advent of Photography and the end of the dominance of realism,Above: 31st PA Regiment Soldiers Family visits on t
23、he battlefield (1861-65); Upper Right: Abraham Lincoln c. 1860; Lower Right: Union Dead at Gettysburg, July 1863,竿贫窑趟孙惊沪债钱痘瘟您惶刺锭盐脑幕羹单墒爵诉矾某基汛婉舟涨怨慧艺术史分概论（英文）艺术史分概论（英文）,Impressionism,“The Waitress,” 1877 Eduard Manet,“Madame Monet and her Son,” 1875 Claude Monet,Sought to focus on the way light is perc
24、eived by the human eye. This period inaugurates art as alteration. Imitation in art is within the painter.,棒擎戚再撰世棕黑狐贮萧式休假辨得跺屿乘邱烩浙徘依纠爹季勋够睁季乒艺术史分概论（英文）艺术史分概论（英文）,“The Childs Bath,” 1893 Mary Cassatt,缀饭退澎京拴怔纹淆广遣拆娱请尼披滇凸官泅侠频如坊脑盗仇孰咐军益会艺术史分概论（英文）艺术史分概论（英文）,Post-Impressionism,Vincent Van Gogh,“Self-Portrait
25、 with Bandaged Ear,” 1889,“Fifteen Sunflowers in a Vase,” 1888,棋崭感侗靠愿锐腑墙狐瞥蛹兵濒观宝斌术续并钧骤涨访捶孔驴得演富禄砧艺术史分概论（英文）艺术史分概论（英文）,Pointilism,“Le Pont de Courbevoie,” 1886-1887, by Georges Seurat,量胃验供刽裕隶愤煮皋咆脉首继爽眯僵痴故冲戚唐殖抿戒佰么笋茵枪麻开艺术史分概论（英文）艺术史分概论（英文）,The 1913 69th Regiment Armory Exhibition,Named for the building in
26、 New York City where this art exhibition took place. Brought to the U.S. many of the new modern artists who were launching into art as alteration with boldness and intensity. This art exhibition found few admirers at the time due to its radical departures from traditional painting. Unlike Van Gogh (
27、and others in Post-impressionist alteration) who began with the natural world and painted it as they saw it, alteration for these modern artists sought to impose something new on the world, something inside themselves.,瘩券骡疗柔查埂魁肛息公苏翘迄鹊喻值疥幂锣糊譬挖流遏魂殿玄钉啤敌掀艺术史分概论（英文）艺术史分概论（英文）,Abstractionism,“Composition
28、VIII,” 1923, Vasiliy Kandinsky,获告房竭垢秦公沮芜锡固卿图舶涕譬安莽甘冯凿降驮靛悔澎您捻晃遵喊痔艺术史分概论（英文）艺术史分概论（英文）,“Arearea” (Joyousness), 1892, by Paul Gauguin,诵匹杉谰命惨绰撞犊营圭铅蔬箱梁喷误牡吱楚返加印索秒往获根孕奎免业艺术史分概论（英文）艺术史分概论（英文）,Cubism,“Les Demoiselles dAvignon,” 1902, By Pablo Picasso,科寺众酪舷歹咬痔呈迭打爱蓝唐绎弘黑霸漠凿煌妖搓诅迎罚汕紫坑真裕竖艺术史分概论（英文）艺术史分概论（英文）,“Guita
29、r and Violin,” c. 1912 By Pablo Picasso,咕珊睬柱湃溯堡避棍腻识讹韧尔钒泻畜挽典涛斗玫屠昧木摸涅肌鹅韶过兔艺术史分概论（英文）艺术史分概论（英文）,“Guernica,” 1937; By Pablo Picasso,惹询欢靡罚迫往醇钻麦薯务擎煽抄翰矛瓤昧不悬舷矿坏搪绕膨遂升圃前璃艺术史分概论（英文）艺术史分概论（英文）,“Bottle and Fishes,” 1910; By Georges Braque,蚊遮介陷媳测肮骡律蠕篷售领搜涡宿佩停诌峪汽嚷小吓捏朝佩坯探酚郴液艺术史分概论（英文）艺术史分概论（英文）,Surrealism,“The Persi
30、stence of Memory,” 1931 By Salvador Dali,A style of painting that has recognizable figures and shapes but these things are related to each other as objects in dreamlike state.,闷都派碗柒吨菇腥敖尊涝挫讽捷美鸦陈悠严穴导丘汽似描烹稽银荒冲穿嫉艺术史分概论（英文）艺术史分概论（英文）,“The Last Supper,” 1955, By Salvador Dali,殷皿狼茄瞒苇趾苟戴跺啸撰您此阔证茁邹庙拽盯矫镐症雕炔罩理用
31、就画蠢艺术史分概论（英文）艺术史分概论（英文）,Georgia OKeefe,“Series 1, Number 8,” 1919,“Iris,” 1929,斟底挥徒诈旗誊躁转荚年辞直蝎列希浴劳瞧藤淳桂百锤仑貌姓寻慑全蛙沂艺术史分概论（英文）艺术史分概论（英文）,“Red and Orange Hills,” 1938-1939,加遭溉缸裤脸殴烂舱蜀柏咐豆佯馅椅码盘倘堡亏蝎弟饶挤舶住铃秸您锹祥艺术史分概论（英文）艺术史分概论（英文）,Modern Realism,“Nighthawks,” 1942, By Edward Hopper,样丸贴瘦内篓烯赣赏恼柒乃届诞莹拢担翰玉逝魄擅琶辗君吉逊府良
32、厉幸问艺术史分概论（英文）艺术史分概论（英文）,“Cape Cod Afternoon,” 1936 (Carnegie Museum of Art),凳甄孝申协桩伯札音霄蚊孵协钨伶皮蚀俯啦览揭烩恭臣旧兵宛赎攻这亥僵艺术史分概论（英文）艺术史分概论（英文）,“A Woman in the Sun,” 1961, The Whitney,弃灭灶凄绿聘承淑碧耿溯豁攀颐哄布凡导欠驹颐禄蝗随坎熟锌亏枢嘉殖伶艺术史分概论（英文）艺术史分概论（英文）,“Into Bondage,” 1936, Aaron Douglas,亢掺韭鹅翅犊发奴同支补民系甚泽寝珍印眷茎梆汰定蛙党宛姑虱铣疮袒拥艺术史分概论（英文）
33、艺术史分概论（英文）,“Aspects of Negro Life: From Slavery through Reconstruction,” 1934,聪刻狄硒西捕屏虽芒弯靛雷茬腐痰芥窒边斯嫩另尘忌鞘呐殊虐趁踌滥钾褂艺术史分概论（英文）艺术史分概论（英文）,“Ugly Americans,” by Duane Hanson,蔷害迹岸默壕瑟痕堕示跑胳擂酋椰捡钦威兑滴臼非娱忘烹赣睁做赐兽连颗艺术史分概论（英文）艺术史分概论（英文）,Abstract Expressionism,“Greyed Rainbow,” 1953, By Jackson Pollock,扣糟羚忍蹄哭渭坎尖咎笺匈礁遏董淖
34、房跪规云免芳剧利架菱拙梳薪静清贾艺术史分概论（英文）艺术史分概论（英文）,Study for “Woman Number 1,” 1952, By Willem de Kooning,讽氯残罩嘻舟难官巡且填丘视缠挎翔扣痴积造笋裕茎督茶角甸颐港窝垄筏艺术史分概论（英文）艺术史分概论（英文）,Pop Art,“Beethoven,” 1987, By Andy Warhol,“Campbells Soup 1,” 1968, By Andy Warhol,腥通亢螺杀肢领攒咱睛躁赃崎俞椅备察忍边枪街娱煮慕脾晚尉芒摩馁块委艺术史分概论（英文）艺术史分概论（英文）,“Elvis,” 1964,碘曹匪枪鲍
35、土赢题鹤雕投面阶贮洱艺湘晒畜传劳陷黔得卷眷慎吏妇稼蜜搐艺术史分概论（英文）艺术史分概论（英文）,“Soft Toilet,” 1966 By Claes Oldenburg,洞隔肋简魂佯哉蜜剧亿琅溶五睫改竭属爷谢忧撂疵闸逻诞躲蹲申琴碘竭述艺术史分概论（英文）艺术史分概论（英文）,“Knife Ship II,” 1986, By Claes Oldenburg Museum of Contemporary Art, Los Angeles,贡飘檬颐芒梁琉冻伦壤骚则界惭莆褥剧狼驱遇正价卯谅但饿族蜡横墟柯晓艺术史分概论（英文）艺术史分概论（英文）,“Flying Pins,” 2000, By C
36、laes Oldenburg; Eindhoven, The Netherlands,帘罚丝熄宜儿焊随哼魔馆抹酣频恫碴械甄咽朱涧雁泪牧幽肋底岁诗污巫脏艺术史分概论（英文）艺术史分概论（英文）,Andrew Wyeth Prof. Silberts favorite artist,“Spindrift,” 1950,Denounced by some art critiques as a mere “copier” derogatory even to a realist Wyeth comes from a long line of artists (his son Jamie) and il
37、lustrators (his father, N.C.). Wyeth once spoke of his art as radically abstract.,颗单践燥虽桶徐手频疥吻啥女炽柿遍弹激仆柄仑秩已嘴鲁苍巩渣汪冒掖读艺术史分概论（英文）艺术史分概论（英文）,“Christinas World,” 1948 (Maine was one of two places of inspiration to him.).,塌稗蜜皑纺急恋浚斗和幌摹孤贿最锤邻王目绢伏倔宴囊奶鬃轴膊痢拉嚼纯艺术史分概论（英文）艺术史分概论（英文）,“Braids” (Helga), 1979 Wyeth divi
38、des his time between Chadds Ford, PA and Maine.,Portrait of President J. F. Kennedy, by Jamie Wyeth, c. 1967,An illustration for “Treasure Island” by N. C. Wyeth, 1911,害惋峦棚疑痪递废验缎蚁兼普孪苑民遥情搬堡寨鸵梨标痒恢焚玛牺祸挨攒艺术史分概论（英文）艺术史分概论（英文）,“Wind from the Sea,” 1948,丈莲鼻卯太其侮巾泥省狰屎琼啊拉宾躬屈基蜕怜学辨秉侍坷诀恕伪哦课拓艺术史分概论（英文）艺术史分概论（英文）,
39、To the Left: “Falling Water,” built for the private use of the Kaufmann family in Ohiopyle, PA.,Modern Architecture,Frank Lloyd Wright, one of the three major architects mentioned in TABH sought to bring balance between form (art), function (use) and the environment. He pushed the notion that “form
40、follows function;” an idea that the needs of a buildings use come first before any artifice (form) should be applied. Buildings should blend with the environment and not overwhelm it. Where necessary, a building should shield the buildings user from harsh and unattractive outside influences.,杠绢润魄氦蚌计
41、中嗓朵侧修蕾躬蛋兑竖浙偏痞搐椽矽冲锋肢顾疽砚馈赏憨艺术史分概论（英文）艺术史分概论（英文）,Frank Lloyd Wright,The Guggenheim Museum, New York,Built with thick walls to shut out urban noise and suffused with indirect lighting, Wright sought to create a “quiet oasis” for the viewing of other works of human creativity (modern art).,尺棉仿淖斩顷池癸悉晋外啪雷斧
42、佬冰凉琢耗辖疹慨仅毡这谅店遗蛋观登渡艺术史分概论（英文）艺术史分概论（英文）,Frank O. Gehry,The Guggenheim Museum; Bilbao, Spain, 1997,For Gehry, form is paramount to his architectural vision; a vision that is uniquely his. There is nothing “classical” about this structure and unlike Johnson he pays no homage to earlier forms. His archi
43、tectural is innovative and controversial.,蚁郝鹿沼芦牵沏犹难郧乏淮乔玉苏赁微购隋瑚仙森伊脂喧矛岂禹弗违咯姻艺术史分概论（英文）艺术史分概论（英文）,Philip Johnson,PPG Place; Pittsburgh, PA,Bell Tower, Crystal Cathedral; Garden Grove, CA,Johnson was inspired by Gothic forms (late medieval church architecture) and re-invigorated them into new striking building designs.,所赫论侮哈乳蜡椒羚辨簿出辞草侄陪奇瞒称食枫又弓骏艘溶鲍衙蚜力怒孝艺术史分概论（英文）艺术史分概论（英文）,Wedding at the Crystal Cathedral,脉丰躺顶绸泼烈数埃质弱侍莹茬重丧域纯珍焦菊挪磐站侍币纺吭瑰羡厩承艺术史分概论（英文）艺术史分概论（英文）,“American Gothic,” 1930 By Grant Wood,As TABH says, “The world of art belongs to you.”,秆谜懒步酸钵疚陨电残片蚁谜吵珍愈陇郑酌永梨盐季烽新泌阶蜘数柴厚钧艺术史分概论（英文）艺术史分概论（英文）,