History As Art The past is not real, nor tangible. We cannot revisit the past as we are forever placed here, in the eternal now to navigate our existence. History provides our imaginations with concepts and ideas that allow us to seemingly describe the past. It must be remembered and heavily emphasized that history is in fact an art. It is not a science and it has no capability of being

(Kleiner, 2010, pg. 360) While Giotto's Christ Entering Jerusalem, is a depiction of Christ entering the Jerusalem. In this situation, he is trying to instill a sense of history and righteousness by showing Christ entering one of the holiest cities in Christianity. At the same time, he is embracing the same kind of basic painting style that was most commonly used during the time. This is important, because it shows

As a result, both works of art share this similarity, as they want to instill the audience with a sense of awe and respect for this person. (Stokstad, 2011) When you step back and analyze both statues, it is clear that Donatello as well as Michael Angelo is trying to impress upon the audience a sense of: strength and respect for their statues. This is illustrated by the way they

As the various are works are depicting the two as a perfect match. A good example of this can be seen in the painting the Meeting of Marie de ' Medici and Henry IV at Lyon. Where, Rubens is showing the two in heaven, looking down on themselves when they were younger riding lions. This is important, because the image of them in heaven is highlighting how they are

Hope the readers found pleasure in reading the history i.e. The experiences of the former innovators. References Betensky, M.G. (1973). Self-discovery through self-expression. IL Springfield: Charles C. Thomas. Case, C., & Dalley, T. (1992). The Handbook of Art Therapy. New York: Routledge. Detre, K.C., Frank, T., Kniazzeh, C.R., Robinson, M., Rubin, J.A., & Ulman, E. (1983). Roots of art therapy: Margerat Naumberg (1890-1983) and Florence Cane (1882-1952): A family portrait. American Journal of

The rococo was aimed towards the French court and nobles. The main message was not a religious one, but aimed the upper classes and focused on their lives, houses and celebrations. In France this style gave way to the austere neoclassic style at the end of the xviii century and disappeared with the French revolution in 1978, suddenly and completely. Neoclassicism appeared as a return to the classical ideology in