THE ARTS HISTORY FTA411

The Arts of the High Renaissance And Mannerism  Introduction : the High Renaissance painting sought a universal ideal achieved thorugh impressive themes and styles. Tricks of the perspective or stunning renditions of anatomy, stapples of the early Renaissance, no longer sufficed.  the figure also emerged as types again, rather than individuals-godlike human being in the Greek classical tradition.   the Artists : MICHELANGELO Scluptor,painter, architect and poet, he is the greatest artist. he came from a respectable Florentine family and when twelve years old became an apprentice to the Florentine painter Domenico Chirlandaio. During these early years he became a master of anatomy. one of the masterwork of Michelangelo was DAVID(1501-04). michelangelo, David, 1510-04.marble 4.1m. Italy. MICHELANGELO-DAVID   this nude champion exudes pent-up energy, as a body seems to exist merely as an earthly prison for the soul. the upper body moves downward...

  The Renaissance Art Name : "The Lamentation of Christ" Date : 1305-06 Artist : Giotto (1270-1337) Medium : Fresco mural painting Genre : Biblical art Movement : Proto Renaissance Location : Scrovegni (Arena) Chapel, Padua A new sense of space, three dimensionality, and mobility are clear in Giotto's masterpiece. The limitation What is the Proto Renaissance? - Characteristics In fine art, the term "Proto Renaissance" refers to the pre-Renaissance period (c.1300-1400) in Italy, and the activities of progressive painters such as Giotto (1267-1337), who pioneered the new form of figurative "realism", which was fully developed by artists during the era of Renaissence Art proper.her the art of Italy between 1200 and 1400 is the last phase medieval art or the beginning of rebirth, or Renaissance, of Greco-Roman nuturalism. Some art ...

THE GREAT STUPA NAME :The Great Stupa WHEN IT WAS BUIL T:  3rd century BCE. WHO BUILT IT : By the Emperor Ashoka in Maurya dynasty LOCATED : Sanchi , North-Central of India. The Stupa are the one of important monuments reflecting gem of Bhuddhist art and architeture. Originally commissioned in third century BCE by Emporer Ashoka this huge hemispherical dome also know as "anda"mean as Egg and the Garbha.  The height of 54 feet consist and the whole of the Great Stupa is encircle by a railing and four gateway, which are richly decorated with relief sculpture  depicting Jataka tales, event in the life Buddha and popular mythologycal figures. The Great Stupa (Mahastupa) was built at the birthplace of Ashoka’s wife, Devi, daughter of a local merchant. in the village of Sanchi located on an important trade route in the state of Madya Pradesh, India A chatra that is an umbrella like structure made are made of stone crowned the hemisphere brick t...

  THE CHINESE PAINTING IN HAN DYNASTY At most the same time as the Roman empire, the Han dynasty gave China a great empire in the east. The Han dynasty produced remarkable scholarship  and artistry. Three styles of painting existed during the period of Han dynasty that spanned the first century C.E. The first style was a rather formal and stiff style, very geometric and hieratic( somewhat like the Byzantine style), in which were flat and outlined. In contrast,the second style depicted lively action and deep space. The third was midway between the two previous styles, being more painterly and exhibiting movement and lively depictions of, for the example, mythic beings, dragons, and rabbits.  As can see in the figure , a tile taken from the lintel and pediment of Han tomb, masterfully rendered figures are drawn with  brushstrokes that suggest liveliness and movement. The figure appear in three-quater poses, which gives the painting a sense of depth and action, and ...

The Black-Topped Beaker, from a Grave at Naqada  The most elegent forms of Egyptian pottery were probably produced  during the predynastic period. Some of the object placed in graves had been used by the deceased persons in their lifetime, but others  were made exclusively for the burial. Already in predynastic period there were establishment  which specialized in the manufacture of items for funerary purposes, in particular  pottery. These were the predecessors of the necropolis workshop of the pharaonic period. Black- topped beaker, 3600 B.C.  Funerary pottery tended to be more inventive and more decorative than the functional domestic ware, although the two categories  may have overlapped. The decoration of this beaker consists of a board band of a metallic black near its top which is set off against the haematite red ochre  applied to the body. It seems certain that the pattern was at the first created accidentally, by placing the pot...

The Harbaville Triptych The Harbaville Triptych, late tenth century The tenth and eleventh centuries have left us the greatest number of ivory objects, many decorated with small, elegant relief. In secular art, ivory caskets covered with minute carvings proved the most popular form. Byzantine ivory carvers of the time showed remarkable ease and skill in imitating classical models. The same technique occurred in small-scale reliefs of religious subjects. The Harbaville Triptych provides an exquisite example. The triptych , probably intended as a portable altar or shrine, has two wings that folded shut for travelling, across the center panel. In the top center Christ sits enthroned and flanked by John the Baptist and the Virgin Mary, who plead for mercy on behalf of all humanity. Five of the apostles appear below. The two registers of the central panel are divided  by an ornament repeated border, and three heads in the top border. On either side of Christ's head appear me...

THE PANTHEON Pantheon, Rome118-28 C.E Marble, brick and concrete As the name suggests, the Pantheon ( PAN-thee-ahn); are designed and built by Hadrian, honored all the gods. The structure brought together Roman engineering , unprecedented scale. Its is are the one of the greatest temple architecture built in Roman ancient art. Untill the mid-ninteenth century, only two buildings had equalled the span of its dome, and during the Middle Ages, people suspected that demons might be holding up the roof of its pagan temple. Around the circular interior statues of the gods stood in niches (NIHCH-ehz) in the massive walls. Corinthin colums add grace and lightness to the lower level. Heavy horizontal moldings accentuate the feeling of open space under the huge dome. The dome itself reaches 143 feet (44meters) in both  diameter and height (from the floor to the oculus ), or eye, the round opening at the top of the  the dome). The circular walls supporting the dome stand 2...

THE PARTHENON THE GREATEST TEMPLE The parthenon, Acropolis,Athens (marble) On the summit of the Acropolis at the Athens stands the Parthenon, the greatest temple built by the Greek and the prototype for all classical building thereafter. When the pericles rebuilt the Acropolis later in fifth century B.C.E . Athens was at its zenith, with the Parthenon as its crowning glory. The parthenon exemplifies Greek classical architecture. Balance results from geometric symmetry, and the clean, simple lines repreasent a perfect balance of forces holding the composition together. For the Greeks, deities were only slightly superior to mortals and in the Greek temple, deity and humanity met an earthly rendezvous. This human-centered philosophy shows in the scale of the temple. In plan, the Parthenon has short sides slightly less than half the length of the long sides. Its interior, or naos, divided into two parts, housed a 40-foot(12 meter) high ivory and gold statue of Athena. The temple...

 Ancient Greece Art The Dipylon (DIHP-ih-lahn) Vase from the eighth century B.C.E,was found in the Diplyon Cemetery in Athens. This pot and other like it served as a grave monuments. Holes in the bottom allowed liquid to filter down into the grave. Figure 1.Dipylon Vase The vase in figure 1, shows the body of the deceased lying on a funeral bier, surrounded by mourners.  Also depicted on the vase is a funeral procession with warriors on foot and in chariots drawn by horses. Every human and animals figure in this complex design suggests a geometric shape harmonizing with the other elements on the vase. Although recognizable and narrative in purpose, the figures appear as just another type of ornamention within the larger context of the overall design. They follow the convention of portraying the torso forntally while the head and legs show in profile ; turning the head to the rear would denote a figure in motion. On this vase, intricacy of detail occupies every i...