The Learn Tracker
...life-long learning: structured, organized, searchable...
878
Lectures Watched
Since January 1, 2014
1900+ courses starting
in April 2018
Peruse my collection of 273
influential people of the past.
View My Class Notes via:
Receive My Class Notes via E-Mail:

VIEW ARCHIVE

Contact Me via E-Mail:
edward [at] tanguay.info
Notes on video lecture:
Artists and their Contexts Throughout History
Notes taken by Edward Tanguay on April 22, 2014 (go to class or lectures)
Choose from these words to fill the blanks below:
feet, Russians, Francesca, three, pulp, Roman, cultures, cinematic, David, Washing, Sabine, joke, India, Cubism, plane, weighted, skeptical, sense, movies, cultures, Yokohama
•
Jacques-Louis           , "Intervention of the              Women", 1799
•
very complicated painting
•
very large, almost                    in its scale
•
tells of a complicated story drawn from            history
•
observe the          of the figures
•
animators could learn a great deal from Jacques-Louis David since one of the difficulties for artists and animators is to make figures and characters that are                  believably and move through space believably because they have the illusion of weight and substance
•
David's feet inform the lifelikeness of the character all the way to the tops of their heads, the toes are ready, the flesh has a life in it
•
we think of these paintings almost like              before movies were made almost because you can sense what is next to happen because of the weight and the embodied sense of the figures
•
Piero della                   , "Flagellatin of Christ" 1455
•
painted when perspective and linear perspective were just beginning to be refined
•
a way of imagining            dimensional space on a two dimensional surface
•
used the convergence of othagonal lines to create the illusion of depth
•
it has a theatrical space, it's a picture that is better at rendering architecture than the figures which look flat in comparison
•
Nidha Mal, "Prince and Ladies in a Garden"
•
mid 18th century in           
•
all of the figures and background seem to occupy the same           
•
some artists are not concerned with the illusion of three-dimensionality at all, some                  aren't either
•
artists work in particular times and contexts
•
according to the skills, techniques and conventions of those times and contexts
•
what is interesting is when artists attempt to represent the context between different                 
•
here you feel the stress of those conventions
•
Utagawa Sadahide, "English, Dutch, and                  enjoying a stroll on a rest-day in                 ", 1861
•
port in Yokohama was just being open to foreign trade
•
an artist who was used to representing a world of people who looked just like him, was now representing a contemporary world of people who did not look like him
•
people who were caucasion and had different organization of their facial features
•
Alfred H. Barr, "             and Abstract Art", 1936
•
flow chart of the history of modern art
•
first curator of Museun of Modern Art in New York
•
facing a very                    public that things modern art might be a big         
•
shows that modern art has a history that is linear and progressive
•
modern art is posed on two different paths:
•
1. non-geometrical abstract art
•
2. geometrical abtract art
•
a noble attempt to make            of the art of his times
•
today's situation in art
•
contemporary artists are global
•
through the virtues of fairly easy travel, the Internet, and amazing digital archive at our fingertips
•
you can feel as if all of art history is available to you and you can do whatever you will with it
•
Huang Yong Ping, "The History of Chinese Painting and the History of Modern Western Art Washed in the                Machine for 2 Minutes" 1987
•
if you put two histories of art through the washing machine uncritically and you run them through the wash cycle, what you get is not something better, or clearer, what you get is a greyed down mass of         
•
artwork:
•
Intervention of the Sabine Women
•
Jacques-Louis David, 1799
•
represents in Roman history, the Sabine women interposing themselves to separate the Romans and Sabines, as a sequel to Poussin's The Rape of the Sabine Women
•
very complicated painting of Roman
•
very large, almost cinematic in its scale
•
observe the feet of the figures: animators could learn a great deal from Jacques-Louis David since one of the difficulties for artists and animators is to make figures and characters that are weighted believably and move through space believably because they have the illusion of weight and substance
•
artist: jacqueslouisdavid
•
Flagellation of Christ
•
Piero della Francesca, 1455
•
painted when perspective and linear perspective were just beginning to be refined
•
a way of imagining three dimensional space on a two dimensional surface
•
used the convergence of othagonal lines to create the illusion of depth
•
it has a theatrical space, it's a picture that is better at rendering architecture than the figures which look flat in comparison
•
artist: pierodellafrancesca

Vocabulary:

métier, n. [may-tee-AY] any activity that is pursued as a trade or profession, a calling ⇒ "It caused me to think anew about the different ways artists look at art based on their métier."
orthogonal, adj. relating to or composed of right angles ⇒ "He used the convergence of othagonal lines to create the illusion of depth."

People:

Piero della Francesca (1415-1492)
Early Renaissance painter whose painting was characterized by its serene humanism, its use of geometric forms and perspective
  • also a mathematician and geometer, but appreciated today for his art
  • his most famous work is the cycle of frescoes "The Legend of the True Cross" in the church of San Francesco in the Tuscan town of Arezzo
Jacques-Louis David (1748-1825)
Preeminent Neoclassical French painter moved from Rococo frivolity to classical austerity
  • became active supporter of French Revolution and friend of Robespierre
  • was effectively a dictator of the arts under the French Republic (1792-1804)
Artists and their Contexts Throughout History
The Importance of Artist Communities and Networks