C.E., is an outstanding example of "the sedate, idealized manner now recognized as Augustan," a reference to the oman emperor Augustus of the early oman Empire period. Thus, this marble statue symbolizes Augustus "proclaiming a diplomatic victory to the citizens of ome" (Kjellberg, 1968, 245).
Artistically, it is of the highest quality, much like the Doryphoros, and was probably executed by a Greek artist which explains why it is somewhat similar to the work of Polykleitos. As Kjellberg points out, this statue "is strongly idealized and was made according to Polykleitan proportions and is very reminiscent" of the Doryphoros, especially in the way that the body is proportioned (1968, 246). However, the Augustus of Primaporta symbolizes the opening years of the Golden Age of oman history, known as "Augustan Peace" and demonstrates the artistic mastery of the period which would not have existed if it were not for Polykleitos and his…...

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References

Chase, George M. (1987). Greek, Etruscan and Roman Art. Boston: Museum of Fine Arts.

Kjellberg, Ernst. (1968). Greek and Roman Art, 3000 B.C. To 550 a.D. New York: T.Y. Crowell Company.

Cultural Activity ReportI visited the Met Museums virtual gallery for this cultural activity report and selected five works of art from ancient times up to pre-modern times (1600 AD). The Met Museum of art houses a wide range of cultural and artistic artifacts from all over the world from various epochs and so it was a good place to go for virtual engagement with art covering a range of millennia. My initial reaction when exploring the online museum was one of interest and wonder because I am naturally interested in artistic expressions as I feel they convey the soul of an era. At the same time, I found many works to be interesting on their own merit because they captured a beauty and an honesty that is often touching and moves one beyond words.The most ancient piece I selected from the Met for my display is dated from 1000 BC…...

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References

Bes amulet. Retrieved from  https://www.metmuseum.org/art/collection/search/243739 

Crucified Christ. Retrieved from  https://www.metmuseum.org/art/collection/search/466045 

The Head of the Virgin in Three-Quarter View Facing Right. Retrieved from  https://www.metmuseum.org/art/collection/search/337496 

“Inkstone and Cover in the Shape of a Turtle”. Retrieved from  https://www.metmuseum.org/art/collection/search/65348

Art of classical antiquity, in the ancient cultures of Greece and ome, has been much revered, admired, and imitated. In fact, the arts of ancient Greece and ome can be considered the first self-conscious and cohesive art movements in Europe. Style, form, execution, and media were standardized and honed to the point where aesthetic ideals were created and sustained over time. The art of classical antiquity in Greece and ome reverberated throughout history, impacting the art of subsequent eras in Europe. In fact, there can be no absolute "neoclassical" era in art history because of the way neoclassicism evolved throughout the centuries since the fall of the oman Empire. The arts of the enaissance borrowed heavily from classical antiquity, as can be seen in enaissance icons such as Michelangelo's David. Some suggest that medieval art pays homage to classical antiquity, even if the quotations from classical Greek and ome are…...

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References

Castelijn, D. (2012). The Influence of Classical Antiquity on the Renaissance. Oxford Department for Continuing Education. Retrieved online:  http://www.conted.ox.ac.uk/courses/details.php?id=V350-130#pagetop 

"Classical Antiquity in the Middle Ages," (n.d.). The Metropolitan Museum of Art. Retrieved online:  http://www.metmuseum.org/toah/hd/anti/hd_anti.htm 

"Greek Art," (n.d.). Retrieved online:  http://www.ancient-greece.org/art.html 

"Jacques-Louis David," (n.d.). Retrieved online:  http://www.jacqueslouisdavid.org/

The artworks prevalent during the early Middle Ages in many ways stand between these two extremes. The art of this period was one that was both religiously inclined but also celebrated the human form and human nature that was to become so prominent in the enaissance. In many ways much of early Medieval art was similar to the abstract and decorative art that we find in Islamic examples. An example that has been chosen to represent this early period of European art is the Gerona Bible Master from Bologna, Italy,

Figure 3.

(Source: http://www.artlex.com/ArtLex/m/middleages.html)

This decorative example displays intricate artwork that emphasizes and enhances the Biblical context. The text or lyrics on the page refers to hymnal and religious phrases of praise, such as "Let us rejoice" (Art: Middle Ages). Note the way that the decorative images add depth to the aesthetics of the script and the manuscript as a whole.

Another good example…...

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References

Art and architecture of the Early Middle Ages. Retrieved from  http://www.artandpopularculture.com/Middle_Ages 

Art: Middle Ages. Retrieved from http://www.artlex.com/ArtLex/m/middleages.html

Middle Ages. Retrieved from  http://www.answers.com/topic/middle-ages 

Roman art. Retrieved from   Siddiqui E.http://www.artchive.com/artchive/R/roman.html 

Art
Please take a close look at two paintings of storms: Watteau's the Storm

painting comparison

Watteau's the Storm and Delacroix's the Sea of Galilee

The two paintings in question refer to different time periods in art history and more importantly, to different views about art and life. These views are also reflected in the style and the technique of the two paintings. Art is often a reflection of the times in which it is created. The social values and perceptions as well as the dominant religious and philosophical ideas of the time tend to be represented in art during a certain period. The following two paintings will be compared and contrasted in terms of their unique qualities, as well as in terms of the way they reflect the era and the dominant ethos of the time period in which they were created.

Comparison of Two Paintings

The development in art from Neoclassicism to the omantic…...

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References

Introduction to the Romantic Era in English Poetry. Retrieved from  http://records.viu.ca/~johnstoi/introser/romantic.htm 

Neoclassicism. Retrieved from  http://www.metmuseum.org/toah/hd/neoc_1/hd_neoc_1.htm 

Romanticism in Art. Retrieved from http://www.visual-arts-cork.com/history-of-

art/romanticism.htm

The Renaissance was more than a "re-birth," it was something new and exciting - the ideas and outlooks represented by Titian and the leading lights of his time have continued to shape estern Civilization and the world, helping to create a culture in which we are all - "open-minded and free to take up quarters in an open world."
Meyer-Abich)

It is for these reasons and others that Venus and Adonis is the subject of this paper. Titian's captivating painting style, mastery of technique, color, and movement, instantly attract the viewer to the artwork. The subject matter, too, is appealing and compelling. As it did centuries ago, it does today - it tells a story and imparts a lesson. Yet, Titian's work can be instructive eon a thousand different levels. The master's art speaks to the motions, and makes each of us think about what is happening on the canvas; what…...

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Works Cited

 http://www.questia.com/PM.qst?a=o&d=89578060 

Cole, Bruce. Titian and Venetian Painting, 1450-1590. Boulder, CO: Westview Press, 1999.

A www.questia.com/PM.qst?a=o&d=108564530

Elkins, James. What Painting Is: How to Think about Oil Painting, Using the Language of Alchemy. New York: Routledge, 2000.

Roman Religion
Although the ancient Roman religion might seem a far cry from today';s contemporary context, in reality Roman religion continues to inform and shape Western culture to this day (the celebration of Christmas being one example). While there are a number of literary sources which provide contemporary scholars with information about Roman religions, both in terms of belief and practice, this religions information is encoded into the landscape and physical space of Rome itself, from the layout of its forums to the sculptures which adorn its altars. y examining three such sources in detail, the Ara Pacis, the Forum of Augustus, and the grove of the Arval rothers, one will be able to understand how Roman religion permeated Roman social and political identity and organizations, and furthermore, how these concurrent strains of identity-formation and power relations etched themselves into the very physical objects left behind to be discovered and discussed…...

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Bibliography

Ando, Clifford. The Matter of the Gods: Religion and the Roman Empire. Berkeley: University

of California Press, 2008.

Beard, Mary, John North, and Simon Price. Religions of Rome, Volume 1: A History. Cambridge:

Cambridge University Press, 1998.

Art Culture: Public Space Art
Public art like that of Koon's Train (2011), Serra's Tilted Arc (1981), Lin's Vietnam Veterans Memorial (1981), and James' Sea Flower (1978), ignite discussion to the point of its modification, re-arrangement, or removal. The reason for this controversial treatment of public art is its ability to embrace a variety of aesthetic practices. The adoption of different aesthetic values like poster art, outdoor sculpture, earthworks, multimedia projections, and community-based projects among others, breaks the public's traditional understanding of art (Glahn, 2000). This critique finds that the public's totalizing classification of public sphere brings about controversy and dialogue over public art displays. By reviewing the famous public art "Tilted Arc" (1981) by Richard Serra, this analysis will show that there are distinct differences between public understanding and professional understanding of public art.

The government with the intention of exhibiting, protecting, and edifying art, commissions public art in America to…...

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Works Cited

"REVIEW & OUTLOOK (Editorial, b) -- Asides: Tilting with the Arc." Wall Street Journal: 1. Sep 04, 1987. ABI/INFORM Complete. Web. 21 Feb. 2013.

Doss, Erika. "Public Art Controversy: Cultural Expression and Civic Debate," Americans for the Arts, October 2006. Web. 20 Feb. 2013.

Drescher, Timothy. "The Harsh Reality: Billboard Subversion and Graffiti," Wall Power, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2000.

Fleming, Ronald Lee. "Public Art for the Public." Public Interest.159 (2005): 55-76. ABI/INFORM Complete. Web. 21 Feb. 2013.

Art During Renaissance
The Evolution of Art During the Renaissance

The Renaissance period is defined as a cultural movement that spanned approximately from the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe (rotton 2006, p. 6). This period in the history of art included the painting, decorative arts and sculpture of the period and for many was considered a reawakening or rebirth of historic and ancient traditions based on the classical antiquity and the inclusion of more recent developments by applications of contemporary scientific knowledge.

The Renaissance was seen as a bridge between the Middle Ages and the modern era. The period also marked a cognitive shift from religious perspectives to a more intellectual and social focus. Classical texts previously lost to European scholars became readily available and included science, drama, poetry, prose, philosophy, and new considerations regarding Christian theology.…...

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Bibliography

Acidini, Luchinat Cristina. The Medici, Michelangelo, & the Art of Late Renaissance Florence. New Haven: Yale UP in Association with the Detroit Institute of Arts, 2002. Print.

Adams, Laurie. Italian Renaissance Art. Boulder, CO: Westview, 2001. Print.

Barter, James. Artists of the Renaissance. San Diego, CA: Lucent, 1999. Print.

Bartlett, Kenneth. The Civilization of the Italian Renaissance. Toronto D.C.

French omantic painter, Eugene Delacroix, is well-known from this period. Delacroix often took his subjects from literature but added much more by using color to create an effect of pure energy and emotion that he compared to music. He also showed that paintings can be done about present-day historical events, not just those in the past (Wood, 217). He was at home with styles such as pen, watercolor, pastel, and oil. He was also skillful in lithography, a new graphic process popular with the omantics. His illustrations of a French edition of Goethe's "Faust" and Shakespeare's "Hamlet" still stand as the finest examples in that medium.

Delacroix' painting "Massacre at Chios" is precisely detailed, but the action is so violent and the composition so dynamic that the effect is very disturbing (Janson, 678). With great vividness of color and strong emotion he pictured an incident in which 20,000 Greeks were killed…...

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References

Art: A World History. New York: DK Publishing, 1997.

Eysteinsson, Astradur. The Concept of Modernism. Ithaca, NY: Cornell UP, 1992

Gardner, Helen. Art through the Ages. New York: Harcourt, Brace: 1959.

Hoving, Thomas. Art. Foster City, CA: IDG, 1999.

Art
Both Duccio di Buoninsegna and Fra Filippo Lippi paint the Christian Madonna and child scene. Lippi's "Madonna and Child Enthroned with Two Angels" is rendered on wood with tempera and gold leaf. It is rounded at the top, and was the center part of a triptych that was completed in about the year 1440.[footnoteRef:1] Also in tempera and gold leaf on wood is di Buoninsegna's "Madonna and Child." Candle damage at the bottom of the wood panel suggests that the painting was "used for private devotion."[footnoteRef:2] Buoninsegna's painting was completed in the year 1300, almost one hundred and fifty years prior to Lippi's "Madonna and Child Enthroned with Two Angels." The two depictions of mother Mary and baby Jesus share similar themes, and in both the mother is holding the child. However, the composition of the two paintings is strikingly different and symbolizes their respective religious histories. [1: "Fra Filippo…...

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Works Cited

"Duccio di Buoninsegna: Madonna and Child (2004.442)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 -- .   (September 2010)http://www.metmuseum.org/toah/works-of-art/2004.442 

"Fra Filippo Lippi: Madonna and Child Enthroned with Two Angels (49.7.9)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 -- .   (August 2007)http://www.metmuseum.org/toah/works-of-art/49.7.9 

Paoletti, John T. And Radke, Gary M. Art in Renaissance Italy. Laurence King Publishing, 2005.

Tinagli, Paola. Women in Italian Renaissance Art: Gender, Representation, Identity. Manchester: Manchester University Press, 1997

Art
Complete Identifications

Period/date- enaissance 1501- 1504

Location or origin- Florence Italy

Medium and size- Sculpture

Period/date- Baroque 1610

Location or origin- ome

Medium and size- Painting

The story of David and Goliath is one that transcends time. In particular, the story appeals to a wide array of diverse individuals, each with its own views on religion, culture and values. Through the universal appeal of David, many different interpretations have arisen throughout time. These interpretations, although distinct, often convey a fundamental truth prevailing during the period of its creation. Aspects such as war, political policies, civil unrest, and culture values often matriculate into the interpretation of the David of Goliath. Art is no different in this regard. Both the Baroque and enaissance periods gave rise to new and distinct forms of belief and expression. These concepts ultimately matriculated into many of the more commonly know masterpieces of today's time. The sculpture "David," and the painting, "David with the…...

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References:

1) Hartt, Frederick, Michelangelo: the complete sculpture, New York: Abrams,1982

2) Howard Hibbard, Michelangelo, New York: Harper & Row, 1974, 59-61; Anthony Hughes, Michelangelo, London: Phaidon, 1997, 74

It would have been as ridiculous for a working class man or woman to make art as it would have for that same person to become an accountant. Still, artists throughout time have snuck in their personal values in their paintings. Hieronymous Bosch is one of the artists I believe to have inserted personal values into Church-commissioned art.
Even in the modern era, art is still entwined with money. The artist needs to live, sure. But that is not the only connection between art and money. Art galleries exist because art has become big money. Art symbolizes wealth. No ordinary person can afford "real" art. Ordinary people purchase prints and reproductions, not original pieces by known or up-and-coming artists.

Art is like any other commodity now, for better or for worse. Artists have a greater chance than ever of making a viable living, given the plethora of opportunities in graphic art…...

Art
Impressionism in art developed in the 19th century. Impressionist paintings were characterized by visible brush strokes, and subject was drawn from ordinary life and outdoors, rather than being confined to still life, or portraits and landscapes drawn in studios. Emphasis was laid on the effect of light changing its qualities as well as movement. These characteristics of impression can be well observed in the works of art by Gustave Caillebotte, Edgar Degas and Edouard Manet in their paintings Paris: A ainy Day, The Absinthe Drinker and The Bar at the Folies Bergere respectively.

Paris: A ainy Day is an oil painting drawn in 1877 encompasses the Impressionist use of landscape scene. The curator of the Art Institute of Chicago was quoted describing the painting by Hedy Weiss in the Chicago Sun-Times (December 12, 1995) as "the great picture of urban life in the late 19th century." The masterpiece gives of view…...

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References:-

1. Gaustave Caillebotte, Paris Street: A Rainy Day, retrieved on July 9, 2012 from  http://sites.google.com/site/beautyandterror/Home/bourgeoisie-and-proletariat 

2. L' Absinthe-Degas, retrieved on July 9, 2012 from  http://labsinthedegas.blogspot.com/ 

3. Edouard Manet, A Bar at the Folies-Bergere, retrieved on July 9, 2012 from  http://sites.google.com/site/beautyandterror/Home/capitalism-and-the-death

The function of the work of art would be to stand before the city, and to show the city as wisdom personified, and by implication show that the wisdom came from the works and power of the Medici. It would make an analogy between the city-state of Florence and the ancient city-state of Athens. Because Athens was a genuine republic, it might even deflect some criticism from the Medicis, who were technically supposed to be residents of a republic, even though they ruled from behind the scenes. The setting of the sculpture, next to David, outside the city gates would act as a powerful warning of the city's power (with the violence of the anvil and David's shotgun) as well as strike a balance between Classical representations of learning and the still-important tenants of the Catholic faith that must be honored in a world still dominated by the clergy.

The work…...

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Works Cited

Essak, Shelly. "Art History 101 - Early Renaissance Art." 2007. 20 Apr 2007.  http://arthistory.about.com/cs/arthistory10one/a/early_ren.htm 

Medici: Godfathers of the Renaissance." PBS.com. 2007. 20 Apr 2007.  http://www.pbs.org/empires/medici/medici/snapshots.html 

Pioch, Nicolas. "La Renaissance: Italy." Web Museum Paris. 2002. 20 Apr 2007.  http://www.ibiblio.org/wm/paint/glo/renaissance/it.html 

Renaissance Masterworks from the National Gallery of Art." National Gallery: Washington, D.C. 20 Apr 2007.  http://www.nga.gov/press/2003/exhibitions/211/background.shtm