One of the first artists to use randomness and chance as part of the art piece, Arp contradicted the existing need for control and created a new level of visual art. The Cabaret served for artistic and political purposes, and it proved to be a pivotal point in the founding of the anarchic art movement known as Dada. Man Ray Emmanuel Radnitzky provided immense contribution to the Dada and Surrealism movements in the early and mid s.
Distinctive by the fact that he made a name for himself both in Europe and America, he was a successful painter and a sought-after fashion photographer. Man Ray was pronounced one of the 25 most influential artists of the 20th century by ARTnews in , marking his photographic work as groundbreaking. Born in in Romania, Tristan Tzara Samy Rosenstock was an avant-garde poet, essayist and performance artist that can be credited as one of the founders of the Dada movement.
Throughout his school years, he was very interested in French poetry, which influenced his own writing. Attending the opening night at Cabaret Voltaire, he started reading his poems which over time turned from literary gatherings into public performances that generated enormous publicity. Described as embodying the migratory quality of Dada , he was a pivotal figure in its international development, both managerial and artistic. Also known for contributing to the definition of surrealist activities and ideology, his extensive artistic oeuvre includes writings like the first Dada texts, The First Heavenly Adventure of Mr.
Born in , Marcel Duchamp is truly one of the artists that has changed the course of artistic history. As a painter, sculptor, chess player and writer he spearheaded the American Dada movement together with his friends and collaborators Picabia and Man Ray. His refusal to be repetitive in his work manifested in the form of a limited oeuvre, but he was none the less responsible for significant developments in painting and sculpture, being placed along Pablo Picasso and Henri Matisse when it comes to developing plastic arts with such techniques.
Duchamp was introduced to Dada through his friend Picabia, who carried the European version of the movement across the ocean. In New York, Dada had a less serious tone, and Duchamp was careful about his use of the term. His most notorious of the readymades, found objects that he presented as art, was the Fountain. It was made during his participation to the Dada group, and it caused a lot of controversy in its time, proving to be one of the most influential artworks of the 20th century.
Art Exhibitions Elena Martinique. Art Exhibitions , Photography Elena Martinique. Art Exhibitions Balasz Takac.
Remember me on this computer Forgot Password. Are you a business user? Click here. Subscribe Yes, add me to your mailing lists. Check your inbox or spam folder to confirm your subscription. February 12, Lor Dethal. Behind the pseudonym of Lor Dethal lies Nemanja Torlak, a writer for Widewalls intrigued and moved by diversity in art and in the lives of those who create it. It is often the unexpected that come forth and surprise us, and art is a world that allows it and makes it possible.
David beats the Goliath daily, and writing about it is a pleasure. Never miss a story again Sign up. Read Other Interesting Stories. Log in or Sign up. No prerequisite. A seminar focused on a theme related to the study of art history. Open only to first-year students. This course explores the spectacular visual culture of European society during the High and Late Middle Ages roughly 12thth centuries. In this period the tremendous growth of cities and urban culture, along with economic expansion and social differentiation, created dynamic new forms of interaction between audiences and emerging genres of art.
Through selected case studies of architecture, monumental sculpture, stained glass, reliquaries and altar pieces, illuminated manuscripts, luxury ivory carvings and other devotional images including early graphic arts , students encounter medieval culture and society in all its dazzling diversity. Issues for investigation include: the rise of devotional art and lay spirituality; the impact of miracle tales, relic cults, pilgrimage and other forms of associational worship; the rise of the cult of the Virgin, Mary's role as heavenly intercessor, bridal mysticism and devotion to the Rosary; the culture of chivalry, the impact of the crusades and epic poetry; new forms of social violence, crime and punishment, as well as new models of sexuality and love.
Surveys the history of European and American art of the late 19th and first half of the 20th century, paying attention to changes in the artists' goals and understanding of what art is, as well as changes in materials, subject matter, audience and marketing.
Some topics covered are: non-naturalistic representation and abstraction; rejection of traditional standards of quality and beauty; the role of the artist in society; mass culture and politics; issues of gender; colonialism; ideals of sincerity and authenticity as they motivated artists and their audiences. This course will be focused on art from the late s to the present. This is the tradition in art which rejects many of the basic principles and qualities of Modernism; that is, it rejects an exclusive focus on oil painting and pedestal-based sculpture, the autonomy of the artwork from the wider world, and the ideal of the artist as a larger-than-life person.
We will address the situation in contemporary art in which art takes on a bewildering array of materials, methods, procedures, goals, and modes of self-presentation, including an emphasis on installation, performance, digital and social media, and an art focused on social interactions. This course explores the spectacle and complexity of Japanese urban life in the early modern and modern periods through a study of the eras' visual arts, particularly woodblock prints, paintings, and print culture.
Investigation of pre-modern woodblock prints or ukiyo-e yields a rich tapestry of issues and topics relevant to "early modernity. Our interdisciplinary approach will allow us to engage with not only art-historical issues, but also literary, sociological, historical, and religious concerns. This course explores large-scale art and architecture produced in Japan from to These years encompass the last turbulent decades of warfare and the first two centuries of an era of peace, witnessing the construction and destruction of resplendent castles, villas, religious complexes, and their accompanying interior decoration.
Powerful and pervasive artistic ateliers, which were responsible for the decoration of these structures, also left an indelible artistic stamp on the nation during this period. What role did such resplendent monuments play in the struggle for power, both politically and culturally? For whose eyes was such splendor intended and what hidden, underlying angst pervades these efforts?
What aesthetic values are expressed and did they extend beyond the elite, ruling class? Students will consider these questions and more, ultimately investigating the larger role of "art" in society. This course examines cross-cultural artistic encounters between the Western world Europe and the United States and Asia India, China, and Japan from ca. Topics include the impact of Western realism on traditional Asian art forms; the role of commodities and empire in artistic production; Japonisme and Chinoiserie in 19th century Europe and America; early photography; collections of Asian art objects in the West; issues of cultural identity in Asian modernism; and post-World War II abstract art.
What was the role of images in women's experience in the Middle Ages? This course seeks to answer that question through an examination of images made of, for and by women in this dynamic period of history. The course is framed by the legalization of Christianity in and Luther's declaration of Protestantism in , thereby focusing on the entire medieval tradition and its exploration of gender and image.
The course seeks to understand the construction and subversion of gender roles through images. May count towards Women's Studies. This course explores two major artistic currents arising in both China and Japan in the 17th and 18th centuries. Dubbed "eccentric" by their contemporaries, a number of innovative painters broke the rules, constructed "bohemian" personas, and yet also paid homage to their art historical heritage.
Alongside the re emerging figure of the eccentric artist, 17th and 18th century China and Japan also encountered Europeans. As a result, both countries grappled with its sense of identity, as a nation and as a people. Contact with Europeans, direct and indirect, led to the representation of "other" and experimentation with unfamiliar artistic techniques.
Thus, through this focused study of a specific time period in China and Japan, students examine "diversity" and "inclusion" in a pre-modern, East Asian context. With paintings as our point of departure, we will think deeply about the meanings of terms such as "eccentric" and "exotic," as well as how the associated concerns of artistic freedom and negotiation with "other" still resonate in contemporary society. This class will nurture critical thinking about art and its active role in international relations today, challenging students to approach the subjects of diversity and inclusion from different points of view and to express opinions articulately in verbal, as well as in written, form.
This course considers how art historians have conceptualized "Post Impressionism" and explores the institutions and market structure dealers, auction houses, the apparatus of art criticism that influenced or controlled how, for whom and under what conditions art in 19th- century France was produced and how, where and by whom art was consumed that is, used, purchased or viewed.
Other issues considered are the fascination with primitivism and the colonial "other" as well as ideas of genius and madness in creativity, and the role of gender in the creation of the myth of the "modern" artist. The Paris of the 19th century, of Zola and the Impressionist painters was the city where the large-scale development of new methods of industry, finance, merchandising, government, and culture were given their most coherent concrete form. In the 20th century Berlin was at the center of, successively, German Expressionist painting, the European film industry, Nazism, and the Cold War.
These two European capitals were at the intersection of individual personal experience and titanic historical forces. Close examination of painting, novels, film, architecture and urban planning, and the context within which they were produced. It is often said that the First World War-- the "first industrialized war "-- changed everything, brought an end to 19th century culture and politics, and ushered in the Modern era.
An entire generation experienced the horrors of the trenches, endless artillery bombardments, and poison gas, only to return home to a world they no longer recognized, and that no longer understood them. The painters, poets, novelists, and movie makers among them did their best to convey their experiences of war and combat through their art forms, and in the process contributed to the creation of modernist art and literature. This course will examine the experience of the war through art and literature.
An in-depth study of a particular topic in the history of art. It may be an examination of a specific artist, group or movement or an exploration of a particular theme or issue in art. This course examines the changes and controversies that informed the theory of the late medieval image in altarpieces and devotional panels, and books of hours.
In manifesting the presence of the divine, painting existed at the boundaries of the material and the immaterial, the earthly and the divine, the two-dimensional and three-dimensional, the visible and the invisible. How were these boundaries negotiated by the makers of images? And by their viewers? Study of original sources that theorize image making in conjunction with contemporary art historical scholarship will shape our discussions of how images come to be and how they come to mean.
In focusing on the late medieval art of Jan van Eyck, Rogier van der Weyden, Robert Campin and their contemporaries, we will seek to understand the impact of new materials and techniques oil painting, multiple point perspective , as well as new iconography The Seven Joys of Mary, the Wound of Christ , new ways of seeing realism, symbolic and otherwise , and new identities the new prominence of the artist through signature and commissioned work.
The fundamental questions of the course are: 'How does painting create presence? Explores origins and developments of abstract painting. Look at, interpret, discuss, and differentiate between different kinds of abstract painting. Is it possible to recognize or find meaning in abstract art, and do different styles of abstraction mean different things? Is it possible to distinguish between good and bad abstract art? Is abstract painting a secret code, an exploration of design ideas and painting techniques, a record of an artist's interior life, or a blank slate onto which we project our own ideas?
What is the relationship between abstract painting and the political and social upheavals of the 20th century? This course examines the rich visual culture of Kyoto, the imperial capital of Japan from until During its long history, the city witnessed astounding growth, cultural flowering first under the emperors and then under various warlords, devastation by wars, fires, and famine, and multiple rebirths. Kyoto presided over some of the nation's greatest artistic achievements including the construction of sumptuous palaces, get-away villas, grand temples, and the production of the paintings and decorative flourishes within these structures.
In the early modern period, Kyoto silk weavers, lacquer-ware specialists, book illustrators, calligraphers, and especially, painters commanded the respect of consumers throughout Japan, spreading Kyoto's artistic "style" to other urban centers and to the villages at the peripheries of power. The class will proceed chronologically, beginning with the founding of the city in and ending with the city's role in the restoration of imperial power in Each week we will focus on specific case studies, monuments, art objects, illustrated works of literature, and maps, as well as translated primary sources and pertinent studies by art historians of Japan.
Besides gaining a familiarity with Kyoto's pre-modern visual culture, the class aims to impart an awareness of Kyoto's role in the formation of Japanese 'nationhood' and national identity. This course examines the concept of "representation" in Japanese visual culture, engaging with subject matter from contemporary times, as well as from Japan's modern and pre-modern periods 12th through the early 20th centuries. We will proceed along thematic lines. Balancing theoretical readings with scholarly articles and a sprinkling of translated primary sources, the class will address issues relating to the representation or re-presentation of landscape and the environment, the body and gender roles, canonical narratives as performance, and national identity at three crucial periods in Japan's history.
At times we will reference Japanese monuments and works of art produced prior to the early modern era, as well as the Chinese sources that influenced some of the Japanese topics at the locus of our investigation. What lies at the heart of representation--subjectivity, political aims, societal concerns, emotional responses--and the complexity this question reveals are the central concerns of this course.
History of art - Wikipedia
This course explores the theme of the supernatural in Japanese visual culture from the 12th century to the present. With origins in religion, folklore, and literature, otherworldly creatures and their powers have captured the imagination of the Japanese and consequently inspired creative visualizations of them. Students will not only analyze works ranging from traditional painting mediums to contemporary manga, as well as anime, but also will engage with texts that have supernatural worlds and beings as a central element.
Moreover, this course will ask students to place these exhilarating and cautionary tales in context: what do these narratives say about the societies that created them, believed in them, and produced visualizations of the supernatural creatures featured within them? This course examines the role of women in the arts in pre-modern East Asia and the negotiation of women's concerns, by female artists, in modern and contemporary East Asian art.
Did women have no sense of empowerment at all in pre-modern China, Korea, and Japan? What about Chinese, Korean, and Japanese women artists today? What are their interests and agendas? Students will engage with historical works of art and artists, while concurrently gaining an understanding of gendered female roles as determined by religious, philosophical, and societal conceptualizations of the past.
Then, students will study feminist discourses originating from the West in their analysis of modern and contemporary East Asian art by and about women. Ultimately, the aim of this course is to demystify and to complicate understandings about women as the subject of art, as well as women as the producers of art, in East Asia. I propose to work with you through three forms of vernacular writing and imagery: war epic poems, Arthurian romances, and allegorical love poetry.
All three of these forms were articulated in the incredibly rich 12th - 14th centuries, though often they refer to much earlier periods. All three of these forms flourished outside the purview and approval of the Church. And all three of these forms interacted with that most troublesome because uncontrolled of all entities: the secular image.
The top Impressionist painters in art history
Both the texts and images of medieval love and war existed without the sanction or authority of sacred text i. This "unmoored" quality resulted in an especially productive, volatile and fascinating interaction between orality, memory, writing, and transmission. The course seeks to be aware of how "timeless" stories move between various verbal and visual forms, what the impacts of those forms are on the stories, and what happens to them in our modern era where they are still consistently translated into film and further fiction.
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This course seeks to uncover and analyze strategies of difference in the pre-modern years of Our modern categories of difference and conflict involve race, class and gender: what categories did medieval culture use to mark difference, and what can we learn from them? Starting in northern Europe with the warrior Beowulf's battle against Grendel the monster, moving to Spain and its geopolitics of Convivencia, continuing to the Middle East with the Crusades, and ending in the fantastic maps and travel writings and images of the kingdoms of India, Africa, and China we will study categories of ethnicity, dynastic loyalty, religion, and language, among others, as they constructed difference in medieval textual and visual culture.
At stake in this class is a critical understanding of the historical construction of difference, and the lessons it can give us for understanding strategies of difference in our own culture. Pablo Picasso and Henri Matisse were the two artists credited with indicating the two most important directions in 20th century art: a painting of a bold, expressive color, and a painting of analytical attention to the picture's surface.
These two artists were rivals for the leadership of an intentional but tightly-knit avant-garde community of other artists, writers, critics, collectors, and provocateurs. Their art has been the focus of numerous studies, books, and exhibitions, but nonetheless remains difficult to describe in words. It will allow students to familiarize themselves with different methods of art historical study, will introduce them to the rich cultural world of early 20th century Paris, and will give them the rich opportunities to develop the kinds of writing skills useful not only in studying art history, but also in working in museums, galleries, auction houses, or in any task that requires sharp, critical writing about something not inherently verbal.
The course will touch on critical issues such as the appropriation by European artists of the art of other cultures, the intersections of high art and popular culture, and exhibition practices. Students will research and write a major paper on a topic in art history, and present their work in a public forum. In addition, issues in the current practice of art history will be explored.
This course introduces and examines the institutional practices of museums as well as other exhibition spaces with emphasis on the ethical dimensions of these practices. How do the creators of exhibits find ways to translate complex ideas and contextual material into accessible, compelling displays? What methods do museum professionals employ to involve and assist visitors? Why do some exhibitions become sites of public controversies and battles over representation- whose voices are heard and whose are silenced? In what manner do discussions of power, privilege, and diversity come into play in museums?
How do exhibition planners negotiate ethnic, racial, class, religious, gender, and sexual difference? This course has a two-fold goal: it will introduce students to museums and their operations, and it will explore critical issues of power, privilege, and diversity in contemporary museum studies. In meeting the first goal, we will consider museum missions, practices of collection, exhibition strategies and interpretation, and audience appeal. Then, the class will situate museum strategies and practices in a larger context, examining changing museum ideologies and institutional engagements with the politics of cultural representation, as well as the ethical debates over the 'ownership' of culture and cultural artifacts.
Assignments and site visits will further strengthen students' reading, writing, and critical thinking skills. This seminar course provides museum studies minors with an opportunity to synthesize material from previous museum studies courses, internships, and allied coursework by translating theory into practice.
Students will first consider the history and ethics of museum practice through small-group discussions and advanced readings in museum theory, curatorial studies, and exhibition design. Then, under the collaborative guidance of art history faculty and the director and curator of galleries, students will co-curate a professional exhibition drawing from the DePauw University permanent art collection of 3, objects.
Students will design the exhibition thesis and supporting subthemes, synthesize subject material, consider object relationships and layout, and install the final exhibition for public display. The capstone project will culminate in a public exhibition opening, complete with oral representations and tours led by students.
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Drawing is one of the most immediate and responsive forms of art-making. This class will introduce concepts that will carry over into other visual practices and develop our ability to recognize and create good drawings. What is a painting if not just a rectangle with paint on it? What makes a good painting if not just technique? This class introduces you to the questions and techniques of painting from multiple points of view.
While designed for students with little or no experience in painting, this class prepares students for advanced painting classes and independently driven work. We will sharpen our awareness of the ways paintings suggest meaning through form, context, narrative, and its relationship to the viewer. This course investigates software as artistic material and cultural form. Students will learn to conceptualize and design their own projects, as well as learn to utilize a variety of software-based art-making strategies in order to resolve these ideas as artworks.
This survey class is an introduction to photography as an art form. This course provides opportunities for learning personal expression, critical thinking, and the aesthetics of photography through studio assignments, critiques, demonstrations, lectures and discussions. Students will use both digital and non-digital cameras, print in the darkroom, and learn the magic of chemical photography, while also outputting digitally. By learning the history of the medium students will come to know that photography does not have to be tied to the camera industry.
A Digital SLR camera, with full manual capabilities, is required. An introduction to digital video art production through camera and editing assignments. This course includes readings and screenings on contemporary and historical issues surrounding the medium of video art. An introduction to the concepts and technical skills associated with three dimensional media. The curriculum introduces these concepts through a series of projects which develop basic technical skills with a through a variety of materials including clay, plaster, steel, paper and wood.
This survey class is an introduction to contemporary ceramic art practice. Through demonstrations, studio work, readings, and critiques, students will build a strong understanding of ceramic concepts, methods, and materials. Course content will explore both handmade pottery and sculptural forms through a range of techniques including hand building, wheel forming and surface development. A seminar focused on a theme related to the study of studio art.
Introductory level studio courses in specific media.