FINAL PROJECT

IN
ART
APPRECIATION

SUBMITTED TO: MRS. MELAGRITA

CASTILLO

SUBMITTED BY: MA.KAYE CORPUZ

 ARTS APPRECIATION 1st
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I. Various Genres in Music:

1. Romantic Music (1850-1900)
 The word romanticism was first used to describe new ideas in painting and
literature, towards the end of the 18th century. This word was later taken up by
musicians, to describe the changes in musical style, which took place soon after
the turn of the century. Unlike Classical composers, Romantic composers aimed
for a store powerful expression of emotion, often revealing their innermost
thoughts and feelings. Romantic music is not just about the emotion of love, it can
also be about hate or death (positive or negative feelings).

The Main Characteristics of Romantic Music

1. Freedom of form and design. It was more personal and emotional.
2. Song-like melodies (lyrical), as well as many chromatic harmonies and discords.
3. Dramatic contrasts of dynamics and pitch.
4. Big orchestras, due mainly to brass and the invention of the valve.
5. Wide variety of pieces (i.e. songs up to five hour Wagner operas)
6. Programme music (music that tells a story)
7. Shape was brought to work through the use of recurring themes.
8. Great technical virtuosity.
9. Nationalism (a reaction against German influence)

Composers of the Period

Composer Lived Composer Lived
Beethoven 1770-1827 Smetana 1824-1884
Schubert 1797-1828 Brahms 1833-1897
Berlioz 1803-1869 Tchaikovsky 1840-1893
Mendelssohn 1809-1847 Dvorak 1841-1904
Chopin 1810-1849 Grieg 1843-1907
Schumann 1810-1856 Rimsky-Korsakov 1844-1908
Liszt 1811-1886 Elgar 1857-1934
Wagner 1813-1883 Mahler 1860-1911
Verdi 1813-1901 Richard Strauss 1864-1949

The Orchestra

As Romantic composers widened the range of their musical material, we find richer harmonies,
more passionate melodies, and greater use of chromaticism. (Chroma is Greek for colour). There
was an enormous increase in the size of the orchestra. The tuba was added to the brass section,
valves were invented, giving the brass more flexibility. Composers wrote for woodwind
instruments in threes of even fours. The piccolo, cor anglais, bass clarinet and double bassoon
were added.
2
A larger string section was formed, to accommodate the extra sound. More varied percussion
(e.g. bongos) were added. A larger range of pitch and volume was now possible. New
combinations of instruments were brought about. A rich variety of compositions resulted,

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ranging from piano pieces and songs to large spectacular works, (The majority of large works
were by: Wagner, Berlioz, Mahler and Richard Strauss).

The German Lied

The plural is lieder. Songs began to develop in the Romantic period for solo voice and piano.
There were two types:

1. Strophic - same music for every verse

2. Through-composed - different music for each verse. The voice and words fit very closely
together (reflect each other.)

The piano is more than just an accompaniment in these compositions, it is a partner to the voice.
Schubert is perhaps the greatest composer of German Lieds, he wrote over 600 (including: The
Earl King, The Trout, To Sylvia). Other composers of this style were Schumann, Brahms, Wolf
and Richard Strauss. Sometimes a composer might set a whole group of poems linked to the
same idea, perhaps even sketching a story, for example, Schubert's Winter Journey.

Late Romanticism

Mahler and Strauss wrote in a Romantic style, into the 20th century. Richard Strauss' 'Also
Sprach Zarathustra', written in 1896, is an example of later romanticism.

2. Modern Music

Throughout the years, musical styles have reflected the society of the time and have
evolved with changes in the world. Not only does music change with society but it changes with
technological advances as well. As technology changes it can allow new styles to emerge and
new ways for people to listen. From radio to television, and records to the internet, music and the
way we consume it has dramatically changed in the past seventy years. Even the innovations in
the technology used to create musical instruments and recording equipment has effected what
styles and songs are made and popular within the music landscape. Throughout this section we
will try to briefly cover the types of music that were popular since the 1920's up until the present
day by providing lists of genres and artists as well as some historical context. Keep in mind a lot
of this information is subjective and we have tried our best to cover the most popular elements of
the history of music. **All lists in this section are in no particular order.

Here are some of the modern music in the past years:

 1920's
Music in the 1920's was dominated by jazz, blues and the traveling dance bands that
played what was popular at the time. Following the devastation of the first World War, Twenties
3 music was quite upbeat and optimistic as the economy boomed and parties roared despite
prohibition in the US.

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 1930's
Popular Genres: Swing, Jazz, Country, Traditional Pop, Crooners, Big Band

 1940's
The music of the 1940's consisted mainly of jazz, big band, and swing. It reflected the
pain of World War II while also trying to remain upbeat and looking towards a positive future
full of possibilities.

 1950's
Music of the 1950's reflected the beginnings of major social changes in the world and in
the US, especially. Rock 'n' Roll, R&B, and traditional pop ruled the charts while radio and
television connected the country in our musical tastes and exposed the nation to a greater variety
of artists and styles.

 1960's
The sounds of the 1960's straddled a large dichotomy between the ultimate
commercialism with completely manufactured bands (like The Archies and The Monkees) and
revolutionary artistry (Bob Dylan and Jimi Hendrix) with some of the greatest singer-songwriters
and instrumentalists emerging on the scene.

 1970's
The 1970's served as a bridge between the seriousness of the music that came out of the
late sixties and the excessiveness of music from the 1980's.

 1980's
In the 1980's music was dramatically changed by the introduction of MTV (Music Television).
This meant that music videos became more and more of a necessity in order for artists to gain
popularity (especially with the youth) and sell records.

 1990's
Like the sixties, the 1990's was a decade of extremes with under-produced, anti-
establishment grunge bands and gangster rappers enjoying just as much success as the overly
produced and studio manufactured pop groups.

 2000's
The music of the 2000's showcased a variety of genres and it reflected a great deal of the
4 pop music that came from the nineties, with many of the same artists and bands remaining
popular between the two decades. For a decade filled with much suffering in terms of the
September 11th attacks, two wars in the Middle East, and an economic downturn, a lot of the
music had to strike a fine balance between upbeat and optimistic while still reflecting the pain

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that many experienced. Some of the more popular genres of the decade included Dance-Pop,
Indie Rock, and Emo.

3. BAROQUE MUSIC
The usual beginning date of the Baroque period is 1600. This date is significant because
opera was developed by the Florentine Camerata about that time. The ending date of 1750 is
chosen because it is the year of the death of J. S. Bach. The next period (commonly called
Classical) was already well underway by then. The Baroque period begins with a reaction to
the highly-developed Renaissance polyphony of composers like Palestrina (in church) and
Gesualdo (secular vocal music). After the establishment of common practice tonality, the
Baroque period concludes with a redevelopment of a new type of contrapuntal technique. The
term "Baroque" means grotesque or distorted. Persons who appreciated the relative simplicity
and regularity of 18th century Neo-Classical art applied the term retroactively to the period.

These are the major developments:

 The gradual development of functional, hierarchical tonality.

 The significant increase in the amount and sophistication of instrumental music, apart
from the dance and vocal accompaniment. Suites, sonatas, and concertos become the most
important types.

 Increased standardization of instruments in Western Europe.

 Preference for a more dramatic emotional form of expression.

 The development of opera.

 The development of the oratorio and cantata as sacred forms of musical expression.
Baroque instruments to know by sight and sound
1. Wind instruments
o recorders
o flutes
o oboes
o horns

2. Bowed Strings
5
o violins
o viola

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o cello

3. Keyboard instruments
o organ
o harpsichord
o Plucked Strings
o lute (declining importance)

Here are some important composers

 Claudio Monteverdi (1567-1643)

Bridged the Renaissance and Baroque periods, and made important contributions in each
style.

 Arcangelo Corelli (1653-1713)

An important composer of sonatas and concertos who established these forms as standard
types.

Henry Purcell (1659-1695)

One of England's greatest composers. During his brief life he composed important works for
the stage and for instrumental ensembles.

 Antonio Vivaldi (1678-1741)

A successor of Corelli in Italy, who developed further the idea of instrumental virtuosity and
idiomatic writing for each instrument.

 J. S. Bach (1685-1750)
One of the supreme geniuses in music. He composed important works for the harpsichord,
instrumental ensembles of many types, and developed the Protestant cantata to a high degree
of sophistication. His contrapuntal technique is unsurpassed, and equaled only perhaps by
Josquin.

G. F. Handel (1685-1759)
A German composer, but international in his style and influence. After a long career as a
composer of Italian opera in London, he developed the English oratorio. He also composed
important works for instruments.
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4. Classical Music

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A common beginning date for the Classical period is 1750 (the death of J. S. Bach), but this
date is a bit too late. Important developments were already taking place as early as 1725. The
ending date is usually given as about 1820, which coincides with the late music of Beethoven.
In fact, significant elements of the classical style extend well into the 19th century. The period
featured a simplification of harmonic language, and the abandonment of the complex
contrapuntal forms of late Baroque. The emphasis on balance, order, clarity, and simplicity of
expression in music was paralleled in architecture and painting as well. The term "Neo-
Classical" is customarily applied to the visual arts during this period.

Here are the major developments:

 The development of a public concert life, principally the opera and orchestra concerts.
Aristocratic patronage continued to play an important role in these semi-public activities.

 The decline of complex art music in the Protestant church.

 Elaborate Masses for orchestra, soloist, and chorus were used principally for ceremonial
occasions.

 The string quartet replaces the trio sonata as the principal form of chamber music.

 The symphony and solo concerto, especially those for piano and violin become important
musical forms for the orchestra.

 The opera is the principal form of vocal music.

Here are some of the classical instruments to know by sight and sound

 Wind instruments
o clarinet (new!)
o flute (replaces recorder)
o oboe
o bassoon
o horn (natural)
o trumpet (natural)
o trombone (some)

 Percussion
7 o timpani

 Keyboard instruments
o organ

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o piano (new and important)

o harpsichord (gradually disappearing)
o String instruments
o violin
o viola
o cello
o string bass

Here are some important composers:

Franz Joseph Haydn (1732-1809).
Haydn's life almost spans the entire period. He is the key personality in bringing the symphony
and string quartet to a high level of maturity. He also composed some concertos, many operas,
masses, keyboard sonatas, and many other forms of instrumental chamber music.

Wolfgang Amadeus Mozart (1756-1791).

One of the supreme geniuses in music history. His operas are the earliest to remain in the
standard repertory of international opera houses, and he pioneered the development of the piano
concerto. He also wrote important works in virtually every type of instrumental music.

Christoph Willibald (von) Gluck (1714-1787).

Gluck was important in the development of a new style of opera, further developed by Mozart.
His reputation has suffered a decline since the mid-nineteenth century.

Ludwig van Beethoven (1770-1827).

Although we will study him more in the next unit, much of his music clearly belongs to the
classical tradition.

VARIOUS ART MOVEMENTS

1. CAVE ART
Cave art, generally, the numerous paintings and engravings found in European
caves and shelters dating back to the Ice Age (Upper Paleolithic), roughly between
8 40,000 and 14,000 years ago.
The first painted cave acknowledged as being Paleolithic, meaning from
the Stone Age, was Altamira in Spain. The art discovered there was deemed by experts
to be the work of modern humans (Homo sapiens). Most examples of cave art have

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been found in France and in Spain, but a few are also known
in Portugal, England, Italy, Romania, Germany, and Russia. The total number of known
decorated sites is about 400.
Most cave art consists of paintings made with either red or black pigment. The
reds were made with iron oxides (hematite), whereas manganese dioxide
and charcoal were used for the blacks. Sculptures have been discovered as well, such
as the clay statues of bison in the Tuc d’Audoubert cave in 1912 and a statue of a bear
in the Montespan cave in 1923, both located in the French Pyrenees. Carved walls
were discovered in the shelters of Roc-aux-Sorciers (1950) in Vienne and of Cap
Blanc (1909) in Dordogne. Engravings were made with fingers on soft walls or with
flint tools on hard surfaces in a number of other caves and shelters.
Representations in caves, painted or otherwise, include few humans, but
sometimes human heads or genitalia appear in isolation. Hand stencils and handprints
are characteristic of the earlier periods, as in the Gargascave in the French Pyrenees.
Animal figures always constitute the majority of images in caves from all periods.
During the earliest millennia when cave art was first being made, the species most
often represented, as in the Chauvet–Pont-d’Arc cave in France, were the most-
formidable ones, now long extinct—cave lions, mammoths, woolly
rhinoceroses, cave bears. Later on, horses, bison, aurochs, cervids, and ibexbecame
prevalent, as in the Lascaux and Niaux caves. Birds and fish were rarely depicted.
Geometric signs are always numerous, though the specific types vary based on the
time period in which the cave was painted and the cave’s location.
Cave art is generally considered to have a symbolic or religious function,
sometimes both. The exact meanings of the images remain unknown, but some
experts think they may have been created within the framework of shamanic beliefs
and practices. One such practice involved going into a deep cave for a ceremony
during which a shaman would enter a trance state and send his or her soul into the
otherworld to make contact with the spirits and try to obtain their benevolence.
Examples of paintings and engravings in deep caves—i.e., existing completely
in the dark—are rare outside Europe, but they do exist in the Americas (e.g.,
the Maya caves in Mexico, the so-called mud-glyph caves in the southeastern United
States), in Australia (Koonalda Cave, South Australia), and
in Asia (the Kalimantancaves in Borneo, Indonesia, with many hand stencils). Art in
the open, on shelters or on rocks, is extremely abundant all over the world and
generally belongs to much later times and bears no relationship to the cave art found
in Europe.

2. EGYPTIAN ART
Art is an essential aspect of any civilization. Once the basic human needs have
been taken care of such as food, shelter, some form of community law, and a religious
9 belief, cultures begin producing artwork, and often all of these developments occur
more or less simultaneously. This process began in the Predynastic Period in
Egypt (c. 6000 - c. 3150 BCE) through images of animals, human beings, and
supernatural figures inscribed on rock walls. These early images were crude in

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comparison to later developments but still express an important value

of Egyptian cultural consciousness: balance.
Egyptian society was based on the concept of harmony known as ma'at which
had come into being at the dawn of creation and sustained the universe. All Egyptian
art is based on perfect balance because it reflects the ideal world of the gods. The
same way these gods provided all good gifts for humanity, so the artwork was
imagined and created to provide a use. Egyptian art was always first and foremost
functional. No matter how beautifully a statue may have been crafted, its purpose was
to serve as a home for a spirit or a god. An amulet would have been designed to be
attractive but aesthetic beauty was not the driving force in its creation, protection
was. Tomb paintings, temple tableaus, home and palacegardens all were created so
that their form suited an important function and, in many cases, this function was a
reminder of the eternal nature of life and the value of personal and communal
stability.
 EARLY DYNASTIC PERIOD ART
The value of balance, expressed as symmetry, infused Egyptian art from the
earliest times. The rock art from the Predynastic Period establishes this value which is
fully developed and realized in the Early Dynastic Period of Egypt (c. 3150 - c. 2613
BCE). Art from this period reaches its height in the work known as The Narmer
Palette (c. 3200-3000 BCE) which was created to celebrate the unity of Upper and
Lower Egypt under King Narmer (c. 3150 BCE). Through a series of engravings on a
siltstone slab, shaped as a chevron shield, the story is told of the great king's victory
over his enemies and how the gods encouraged and approved his actions. Although
some of the images of the palette are difficult to interpret, the story of unification and
the celebration of the king is quite clear.
 OLD KINGDOM ART
This skill would develop during the Old Kingdom of Egypt (c. 2613-2181
BCE) when a strong central government and economic prosperity combined to allow
for monumental works like the Great Pyramid of Giza, the Sphinx, and elaborate
tomb and temple paintings. The obelisk, first developed in the Early Dynastic Period,
was refined and more widely used during the Old Kingdom. Tomb paintings became
increasingly sophisticated but statuary remained static for the most part. A
comparison between the statue of Djoser from Saqqara and a small ivory statue of
King Khufu (2589-2566 BCE) found at Gizadisplay the same form and technique.
Both of these works, even so, are exceptional pieces in execution and detail.
Art during the Old Kingdom was state mandated which means the king or a
high-ranking nobility commissioned a piece and also dictated its style. This is why
there is such uniformity in Old Kingdom artwork: different artists may have had their
own vision but they had to create in accordance with their client's wishes. This
paradigm changed when the Old Kingdom collapsed and initiated the First
10 Intermediate Period (2181-2040 BCE).
 ART IN THE FIRST INTERMEDIATE PERIOD
The First Intermediate Period has long been characterized as a time of chaos
and darkness and artwork from this era has been used to substantiate such claims. The

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argument from art rests on an interpretation of First Intermediate Period works as

poor quality as well as an absence of monumental building projects to prove
that Egyptian culture was in a kind of free fall toward anarchy and dissolution. In
reality, the First Intermediate Period of Egypt was a time of tremendous growth and
cultural change. The quality of the artwork resulted from a lack of a strong central
government and the corresponding absence of state-mandated art.
The different districts were now free to develop their own vision in the arts
and create according to that vision. There is nothing 'low quality' about First
Intermediate Period art; it is simply different from Old Kingdom artwork. The lack of
monumental building projects during this time is also easily explained: the dynasties
of the Old Kingdom had drained the government treasury in creating their own grand
monuments and, by the time of the 5th Dynasty, there were no resources left for such
projects. The collapse of the Old Kingdom following the 6th Dynasty certainly was a
time of confusion, but there is no evidence to suggest the era which followed was any
kind of 'dark age'.
The First Intermediate Period produced a number of fine pieces but also saw
the rise of mass-produced artwork. Items which had previously been made by a single
artist were now assembled and painted by a production crew. Amulets, coffins,
ceramics, and shabti dolls were among these crafts. Shabti dolls were important
funerary objects which were buried with the deceased and were thought to come to
life in the next world and tend to one's responsibilities. These were made of faience,
stone, or wood but, in the First Intermediate Period, are mostly of wood and mass
produced to be sold cheaply. Shabti dolls were important items because they would
allow the soul to relax in the afterlife while the shabti did one's work. Previously, only
the wealthy could afford shabti dolls, but in this era, they were available to those of
more modest means.
 MIDDLE KINGDOM ART
The First Intermediate Period ended when Mentuhotep II (c. 2061-2010 BCE)
of Thebes defeated the kings of Herakleopolis and initiated the Middle Kingdom of
Egypt (2040-1782 BCE). Thebes now became the capital of Egypt and a strong
central government again had the power to dictate artistic taste and creation. The
rulers of the Middle Kingdom, however, encouraged the different styles of the
districts and did not mandate that all art conform to the tastes of the nobility.
Although there was great reverence for Old Kingdom art and, in many cases, an
obvious attempt to reflect it, Middle Kingdom Art is distinctive in the themes
explored and the sophistication of the technique.
The Middle Kingdom is usually regarded as the high point of Egyptian culture.
The tomb of Mentuhotep II is itself a work of art, sculpted from the cliffs near
Thebes, which merges seamlessly with the natural landscape to create the effect of a
wholly organic work. The paintings, frescoes, and statuary which accompanied the
11 tomb also reflect a high level of sophistication and, as always, symmetry. Jewelry was
also refined greatly at this time with some of the finest pieces in Egyptian history
dated to this era. A pendant from the reign of Senusret II (c. 1897-1878 BCE) which
he gave to his daughter is fashioned of thin gold wires attached to a solid gold

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backing inlaid with 372 semi-precious stones. The statues and busts of kings and
queens are intricately carved with a precision and beauty lacking in much of the Old
Kingdom artwork.

 SECOND INTERMEDIATE PERIOD/NEW KINGDOM ART

The art of the Second Intermediate Period of Egypt continued the traditions of
the Middle Kingdom but often less effectively. The best artists were available to the
nobility at Thebes and produced high-quality work, but non-royal artists were less
skilled. This era, like the first, is also often characterized as disorganized and chaotic,
and the artwork held up as proof, but there were many fine works created during this
time; they were simply on a smaller scale.
Tomb paintings, statuary, temple reliefs, pectorals, headdresses, and other
jewelry of high quality continued to be produced and the Hyksos, though often
vilified by later Egyptian writers, contributed to cultural development. They copied
and preserved many of the written works of earlier history which are still extant and
also copied statuary and other artworks.
The Hyksos were finally driven out by the Theban prince Ahmose I (c. 1570-
1544 BCE) whose rule begins the period of the New Kingdom of Egypt (c. 1570 - c.
1069 BCE). The New Kingdom is the most famous era of Egyptian history with the
best-known rulers and most recognizable artwork. The colossal statues which were
initiated in the Middle Kingdom became more common during this time, the temple
of Karnak with its great Hypostyle Hall was expanded regularly, the Egyptian Book
of the Dead was copied with accompanying illustrations for more and more people,
and funerary objects like shabti dolls were of higher quality.
Egypt of the New Kingdom is the Egypt of empire. As the borders of the
country expanded, Egyptian artists were introduced to different styles and techniques
which improved their skills. The metalwork of the Hittites which the Egyptians made
use of in weaponry also influenced art. The wealth of the country was reflected in the
enormity of individual artworks as well as their quality. The pharaoh Amenhotep
III(1386-1353 BCE) built so many monuments and temples that later scholars
attributed to him an exceptionally long reign. Among his greatest works are
the Colossi of Memnon, two enormous statues of the seated king rising 60 ft (18 m)
high and weighing 720 tons each. When they were built they stood at the entrance to
Amenhotep III's mortuary temple, which is now gone.
Amenhotep III's son, Amenhotep IV, is better known as Akhenaten (1353-
1336 BCE), the name he chose after devoting himself to the god Aten and abolishing
the ancient religious traditions of the country. During this time (known as the Amarna
Period) art returned to the realism of the Middle Kingdom. From the beginning of the
New Kingdom, artistic representations had again moved toward the ideal. During the
reign of Queen Hatshepsut (1479-1458 BCE), although the queen is depicted
12 realistically, most portraits of nobility show the idealism of Old Kingdom sensibilities
with heart-shaped faces and smiles. The art of the Amarna period is so realistic that
modern-day scholars have been able to reasonably suggest what physical ailments
people in the pictures probably suffered from.

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Two of the most famous works of Egyptian art come from this time: the bust
of Nefertiti and the golden death mask of Tutankhamun. Nefertiti (c. 1370-1336 BCE)
was Akhenaten's wife and her bust, discovered at Amarna in 1912 CE by the German
archaeologist Borchardt is almost synonymous with Egypt today. Tutankhamun
(c.1336-1327 BCE) was Akhenaten's son (but not Nefertiti's) who was in the process
of dismantling his father's religious reforms and returning Egypt to traditional beliefs
when he died before the age of 20. He is best known for his famous tomb, discovered
in 1922 CE, and the vast number of artifacts it contained.
The golden mask and other metal objects found in the tomb were all the result
of innovations in metalwork learned from the Hittites. The art of the Egyptian
Empire is among the greatest of the civilization because of the Egyptian's interest in
learning new techniques and styles and incorporating them. Prior to the arrival of the
Hyksos in Egypt, Egyptians thought of other nations as barbaric and uncivilized and
did not consider them worthy of any special attention. The Hyksos 'invasion' forced
the people of Egypt to recognize the contributions of others and make use of them.
 LATER PERIODS & LEGACY
The skills acquired would continue through the Third Intermediate Period of
Egypt (c. 1069-525 BCE) and Late Period (525-332 BCE), which are also negatively
compared with the grander eras of a strong central government. The style of these
later periods was affected by the times and the limited resources, but the art is still of
considerable quality. Egyptologist David P. Silverman notes how "the art of this era
reflects the opposing forces of tradition and change" (222). The Kushite rulers of
the Late Period of Ancient Egypt revived Old Kingdom art in an effort to identify
themselves with Egypt's oldest traditions while native Egyptian rulers and nobility
sought to advance artistic representation from the New Kingdom.
This same paradigm holds with Persian influence following their invasion of
525 BCE. The Persians also had great respect for Egyptian culture and history and
identified themselves with Old Kingdom art and architecture. The Ptolemaic Period
(323-30 BCE) blended Egyptian with Greek art to create statuary like that of the god
Serapis - himself a combination of Greek and Egyptian gods - and the art of
the Roman Egypt (30 BCE - 646 CE) followed this same model. Romans would draw
on the older Egyptian themes and techniques in adapting Egyptian gods
to Roman understanding. Tomb paintings from this time are distinctly Roman but
follow the precepts begun in the Old Kingdom.
The art of these later cultures would come to influence European
understanding, technique, and style which would be adhered to for over 1,000 years
until artists in the late 19th century CE, such as the Futurists of Italy, began breaking
with the past. So-called Modern Art in the early 20th century CE was an attempt to
force an audience to see traditional subjects in a new light. Artists like Picasso and
Duchamp were interested in forcing people to recognize their preconceptions about
13 art and, by extension, life in creating unexpected and unprecedented compositions
which broke from the past in style and technique. Their works and those of
others were only possible, however, because of the paradigm created by the ancient
Egyptians.

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3. GREEK ART

 Historical Background

Ancient Greek art proper "emerged" during the 8th century BCE (700-800), as
things calmed down around the Aegean. (See also Etruscan art) About this time,
iron was made into weapons/tools, people started using an alphabet, the first
Olympic Games took place (776), a complex religion emerged, and a loose sense
of cultural identity grew up around the idea of "Hellas" (Greece). By about 700,
kingdoms began to be replaced by oligarchies and city-states. However, early
forms of Greek art were largely confined to ceramic pottery, as the region suffered
continued disruption from widespread famine, forced emigration (many Greeks
left the mainland to colonize towns in Asia Minor and Italy), and social unrest.
This restricted the development of architecture and most other types of art. Not
until about 650, when maritime trade links were re-established between Greece
and Egypt, as well as Anatolia, did Greek prosperity finally return and facilitate an
upsurge of Greek culture.

 Chronology of Greek Art

The practice of fine art in ancient Greece evolved in three basic stages or
periods:

• Archaic Period (c.650-480 BCE)

• Classical Period (c.480-323 BCE)
• Hellenistic Period (c.323-27 BCE).

Greek Tragedy

The real tragedy of Greek art is the fact that so much of it has disappeared. Only a
very small number of temples - like the Parthenon and the Temple of Hephaestus - have
survived. Greece built five Wonders of the World (the Colossus of Rhodes, the Temple of
Artemis at Ephesus, the Statue of Zeus at Olympia, the Mausoleum of Halicarnassus and
the Lighthouse of Alexandria), yet only ruined fragments have survived.

Similarly, the vast majority of all sculpture has been destroyed. Greek bronzes and
other works of Greek metalwork were mostly melted down and converted to tools or
weapons, while stone statues were pillaged or broken down for use as building material.
Roughly 99 percent of all Greek paintings have also disappeared.
14 Greek Artists Have Kept Traditions Alive

But even though this part of our heritage has disappeared, the traditions that gave birth to it,
live on. Here's why. By the time Greece was superceded by Rome, during the 1st century

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BCE, a huge number of talented Greek sculptors and painters were already working in Italy,
attracted by the amount of lucrative commissions. These artists and their artistic descendants,
thrived in Rome for five centuries, before fleeing the city just before the barbarians sacked it
in the fifth century CE, to create new forms of art in Constantinople the capital of Eastern
Christianity. They thrived here, at the headquarters of Byzantine art, for almost a thousand
years before leaving the city (soon to be captured by the Turks) for Venice, to help start
the Italian Renaissance. Throughout this entire period, these migratory Greek artists retained
their traditions (albeit adapted along the way), which they bequeathed to the eras of
Renaissance, Baroque, Neoclassical and Modern eras. See, for instance, the Classical Revival
in modern art (c.1900-30). During the 18th century, Greek architecture was an important
attraction for intrepid travellers on the Grand Tour, who crossed the Ionian Sea from Naples.
In summary: Greek artworks may have disappeared, but Greek art is still very much alive in
the traditions of our academies, and the works of our greatest artists.

4. ROMAN ART

History of Roman Art

Origins

Although Rome was founded as far back as 750 BCE, it led a precarious existence for
several centuries. Initially, it was ruled by Etruscan kings who commissioned a variety of
Etruscan art (murals, sculptures and metalwork) for their tombs as well as their palaces, and to
celebrate their military victories. After the founding of the Roman Republic in 500 BCE,
Etruscan influence waned and, from 300 BCE, as the Romans started coming into contact with
the flourishing Greek cities of southern Italy and the eastern Mediterranean, they fell under the
influence of Greek art - a process known as Hellenization. Soon many Greek works of art were
being taken to Rome as booty, and many Greek artists followed to pursue their careers under
Roman patronage.

 Cultural Inferiority Complex

Roman architecture and engineering was never less than bold, but its painting and
sculpture was based on Greek traditions and also on art forms developed in its vassal
states like Egypt and Ancient Persia.

Example is the equestrian bronze statue of Emperor Marcus Aurelius (c.175 CE), whose stance is
reworked from the Greek statue "Doryphorus" (440 BCE). See: Greek Sculpture Made Simple.

 Realist Propaganda
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Like the Romans themselves, early Roman art (c.510 BCE to 27 BCE) tended to be
realistic and direct. Portraits, both two-dimensional and three-dimensional, were typically
detailed and idealized, although later during the age of Hellenistic-Roman art (c.27 BCE - 200

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CE), the Romans became aware of the propaganda value of busts and statuary, and sought to
convey political messages through poses and accessories.
Reference: http://www.visual-arts-cork.com/roman-art.htm

1. Medieval Arts
The medieval period of art history spans from the fall of the Roman Empire in 300 AD to the
beginning of the Renaissance in 1400 AD. In the Middle Ages, art evolves as humans continue
addressing the traditional and the new, including Biblical subjects, Christian dogma, and
Classical mythology. This article introduces a few concepts of three periods—Early Christian,
Romanesque, and Gothic.

During the Early Middle Ages, the Catholic Church financed many projects, and the oldest
examples of Christian art survive in the Roman catacombs, or burial crypts beneath the city. By
350 AD, the Church had two power centers, Rome in the West and Constantinople (the capital of
the Byzantine Empire) in the East. Medieval artists decorated churches and works for public
appreciation using classical themes. For example, Roman mosaics made of small stone cubes
called tesserae offered Christian scenery. In about 350 AD, Rome’s Santa Costanza, a
mausoleum built for Constantine’s daughter, included a vault decorated with mosaics. Nearby, in
Santa Maria Maggiore, the mosaic called Melchizedek Offering Bread and Wine to Abraham
was constructed 80 years later. Early Christian mosaics used muted colors like classical mosaics,
but in the fourth century, mosaicists moved to brighter colors and patterns.

At the beginning of the eleventh century, Romanesque architecture symbolized the growing
wealth of European cities and the power of Church monasteries. For example, Romanesque
buildings, especially monasteries and churches, were marked by semi-circular arches, thick stone
walls, and stable construction. In 1070 or 1077 AD, St. Sernin, located in Toulouse, France, was
built with a stone barrel vault ceiling. St. Sernin is remembered as a model of the Romanesque
“pilgrimage church.”

Reference: http://www.arthistory.net/medieval-art/

2. Chinese Art
Ancient China covered a vast and ever-changing geopolitical landscape, and the art it
produced over three millennia is, unsurprisingly, just as varied. Still, despite continuous
indigenous technical developments, changes in materials and tastes, and the influence of foreign
ideas, there are certain qualities inherent in Chinese art which make it possible to describe in
general terms and recognise no matter where or when it was produced and for what purpose.
These essential qualities include a love of nature, a belief in the moral and educative capacity of
art, an admiration of simplicity, an appreciation of accomplished brushwork, an interest in
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viewing the subject from various perspectives, and a loyalty to much-used motifs and designs
from lotus leaves to dragons. Chinese art would influence tremendously that of its neighbours in
East Asia, and the worldwide appreciation of its accomplishments, especially in ceramics,
painting, and jade work continue to this day.
Reference: https://www.0.freebasics.com/https/www.ancient.eu/Chinese_Art/

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3. Japanese Art
The Japanese are among the most literate peoples in the world. The National Diet Library in
Tokyo (which also includes branch libraries) is the single largest library in Japan. The concept of
the public lending library, however, is fairly new in Japan, which partially explains the country’s
high incidence of commercial book sales.

Most of Japan’s major cultural institutions—including the Japan Academy, the Tokyo
National Museum, and the National Theatre—and many of its most prestigious universities—
e.g., the public University of Tokyo and private Waseda and Keio universities—are located in
Tokyo. Japan’s numerous Buddhist temples also contain a great many cultural properties,
especially those located in Kyōto and Nara. In addition to the many public institutions, there are
numerous private museums, art galleries, theatres, and gardens throughout the country, and
Japanese department stores also play a role in the dissemination of culture by offering free or
low-cost exhibitions.

Reference: collectionshttps://www.britannica.com/place/Japan/The-arts

4. Renaissance Art

Origins of Renaissance Art

The origins of Renaissance art can be traced to Italy in the late 13th and early 14th
centuries. During this so-called “proto-Renaissance” period (1280-1400), Italian scholars and
artists saw themselves as reawakening to the ideals and achievements of classical Roman culture.
Writers such as Petrarch (1304-1374) and Giovanni Boccaccio (1313-1375) looked back to
ancient Greece and Rome and sought to revive the languages, values and intellectual traditions of
those cultures after the long period of stagnation that had followed the fall of the Roman Empire
in the sixth century.

Did you know? Leonardo da Vinci, the ultimate "Renaissance man," practiced all the
visual arts and studied a wide range of topics, including anatomy, geology, botany, hydraulics
and flight. His formidable reputation is based on relatively few completed paintings, including
"Mona Lisa," "The Virgin of the Rocks" and "The Last Supper."

The Florentine painter Giotto (1267?-1337), the most famous artist of the proto-
Renaissance, made enormous advances in the technique of representing the human body
realistically. His frescoes were said to have decorated cathedrals at Assisi, Rome, Padua,
Florence and Naples, though there has been difficulty attributing such works with certainty.

17 5. Mannerism Arts
History of Mannerism

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Mannerism is an artistic style and movement that developed in Europe from the later
years of the Italian High Renaissance, around the 1520s, to the end of the 16th century when
Baroque started to replace it. In that period, after the death of Raphael, art experienced a period
of crisis. The work of the Renaissance masters Leonardo, Michelangelo and Raphael was
credited with having arrived at a formal perfection and an ideal beauty difficult to overcome.
Renaissance artworks were perfectly composed up to the last detail, thanks to artists having
mastered anatomy, light and perspective. This led young artists to believe that there was nothing
worth pursuing in art, that had not been achieved yet. From this point of view, Mannerism was
born with the aim to develop a new kind of art that worked in a new direction, without
pretending to imitate nature anymore, but instead was turned against the traditional artistic
canon. This new style over the years became a distortion of the Renaissance perfection and an
exaggeration of the previous movement's qualities. Even Michelangelo himself turned to
Mannerism in the last years of his activity, especially in his Last Judgment fresco painted in the
Sistine Chapel between 1536 and 1541.

In addition, the virtuosity, the technical artificiality over the composition and the exaggerated
representation of moods and intense subjects of Mannerism reflected the Italian and European
historical and social period of the 16th century. The most recent scientific discoveries of
Copernicus and Galileo, and the geographical discoveries of Ferdinand Magellan and
Christopher Columbus, who had challenged the canonical view of the world proving that the
Earth is not flat and Europe was not the centre of the world as it was believed to be, created in
men an insecurity, instability and uncertainty that Mannerism managed to express in art.
Painters began to think that the laws of art such as the rational basis of balance and harmony
were no longer sufficient to illustrate a world that had been torn from its axis.

Mannerism can be divided in two periods: Early Mannerism and High Mannerism.

Early Mannerism, which see the collaboration of some Italian artists such as Pontormo
and Rosso Fiorentino in Florence, and Giulio Romano and Parmigianino in Rome, is the initial
phase of Mannerism when artists aimed to react against the Renaissance tradition exaggerating
the style of painting. The earliest experimental phase of Mannerism, known for its "anti-
classical" forms, lasted until the first half of the century.

Late or High Mannerism, is the movement's second phase, where we see the
collaboration of Tintoretto, Veronese, Bronzino and other painters, being differentiated from the
earlier artistic virtuosity, seeking to imitate Renaissance art and its masters. This second phase
18 saw the end of the movement when Caravaggio and his paintings in 1600 brought
this problematic style to an end, leading to the rise of Baroque.

6. Baroque and Roccoco

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Baroque and late Baroque, or Rococo, are loosely defined terms, generally applied by
common consent to European art of the period from the early 17th century to the mid-18th
century.

Baroque was at first an undisguised term of abuse, probably derived from the Italian word
barocco, which was a term used by philosophers during the Middle Ages to describe an obstacle
in schematic logic. Subsequently, this became a description for any contorted idea or involuted
process of thought. Another possible source is the Portuguese word barroco, with its Spanish
form barrueco, used to describe an irregular or imperfectly shaped pearl; this usage still survives
in the jeweler’s term “baroque pearl.”

The derivation of the word Rococo is equally uncertain, though its source is most probably to
be found in the French word rocaille, used to describe shell and pebble decorations in the 16th
century. In the 18th century, however, the scope of the word was increased when it came to be
used to describe the mainstream of French art of the first half of the century; Neoclassical artists
used it as a derogatory term. Fundamentally a style of decoration, Rococo is much more a facet
of late Baroque art than an autonomous style, and the relationship between the two presents
interesting parallels to that between High Renaissance and Mannerist art.

Reference: collectionshttps://www.britannica.com/art/Western-architecture/The-Renaissance

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