History Of Art history of arts

Jung’s approach to psychology emphasized understanding the psyche through exploring the worlds of dreams, art, mythology, world religion and philosophy. Much of his life’s work was spent exploring Eastern and Western philosophy, alchemy, astrology, sociology, as well as literature and the arts. His most notable contributions include his concept of the psychological archetype, the collective unconscious, and his theory of synchronicity. Jung believed that many experiences perceived as coincidence were not merely due to chance but, instead, suggested the manifestation of parallel events or circumstances reflecting this governing dynamic. He argued that a collective unconscious and archetypal imagery were detectable in art. His ideas were particularly popular among American Abstract expressionists in the 1940s and 1950s.

They also frequently use dramatic effects of light and shade, and have sumptuous, highly decorated interiors that blurred the boundaries between architecture, painting and sculpture. Another important characteristic of Baroque architecture was the presence of dynamism, done through curves, Solomonic columns and ovals. Baroque buildings try to seize viewers’ attention and to dominate their surroundings, whether on a small scale such as the San Carlo alle Quattro Fontane in Rome, or on a massive one, like the new facade of the Santiago de Compostela Cathedral, designed to tower over the city. Baroque furniture could be as bombastic as the rooms they were meant to adorn, and their motifs and techniques were carefully calibrated to coordinate with the architect’s overall decorative programme. One of the most prestigious furniture makers was André Charles Boulle, known for his marquetry technique, made by gluing sheets of tortoiseshell and brass together and cut to form the design. Complex Gobelins tapestries featured scenes inspired by classical antiquity, and the Savonnerie manufactory produced big highly detailed carpets for the Louvre.

  • Some programmes also contain 15-credit half modules or can be made up of higher-value parts, such as a dissertation or a Major Project.
  • On a more sobering note, in March 2009 the prestigious Georges Pompidou Centre of Contemporary Art in Paris staged an exhibition entitled “The Specialisation of Sensibility in the Raw Material State into Stabilised Pictorial Sensibility”.
  • These scripture high crosses flourished between 900 and 1100, although construction continued as late as the 15th century.
  • Academism is the codification of art into rules that can be learned in art academies.

This reached its peak during the sixth century BCE as their city-states gained control of central Italy. Like the Egyptians but unlike the Greeks, Etruscans believed in an after-life, thus tomb or funerary art was a characteristic feature of Etruscan culture. Etruscan artists were also renowned for their figurative sculpture, in stone, terracotta and bronze. Above all Etruscan art is famous for its “joi de vivre”, exemplified by its lively fresco mural painting, especially in the villas of the rich. In addition, the skill of Etruscan goldsmiths was highly prized throughout Italy and beyond.

Renaissance

The Portuguese, Spanish and French empires and the Dutch treading network had a leading role in spreading the two styles into the Americas and colonial Africa and Asia, to places such as Lima, Mozambique, Goa and the Philippines. Islamic art is well-known since the Middle Ages for the use of elaborate geometric patterns, colourful tiles, stylized natural motifs and detailed calligraphy. Rarely has lettering had such a profound impact on applied arts and architecture. Islam appeared in western Arabia in the 7th century AD through revelations delivered to the prophet Muhammad in Mecca.

By the time the 90s hit, art movements became less defined and somewhat unusual, almost as if people had run out of names. Net Art, Artefactoria, Toyism, Lowbrow, Bitterism, and Stuckism are some of the styles of the decade. And though it’s still new, the 21st century has its own Thinkism and Funism to enjoy. They include those of prehistory to the ancient civilizations of Mesopotamia, Egypt, and the nomadic tribes. It also includes the work found in classical civilizations like the Greeks and Celts as well as that of the early ​Chinese dynastiesand the civilizations of the Americas. Art historical scholarship depends greatly on the broad experience, intuitive judgment, and critical sensitivity of the scholar in making correct attributions.

Year 2 Credit Level

Research degrees, such as PhD or MPhil, are useful, and sometimes essential if you wish to pursue an academic career and need to develop expertise in a narrowly-defined area of art history. Compulsory and optional modules will introduce key themes and interpretive methods, consider the intentions and identities of artists, and examine the production and analysis of art in different historical, geographical and cultural contexts. This History of Art course allows you to explore the ways in which art has been produced and received by different communities across time and in different places. In that case, undergraduates study either a one-year or two-year Part II, depending on the length of the Part I course that they have taken. If English isn’t your first language, you will need an IELTS score of6.0 with a 6.0 in writing and no element lower than 5.5to study this programme.

Placements will often be arranged as part of your course but you should also try to gain as much additional experience as possible. Try applying to small, local museums, which may not get as many work experience requests and can offer a range of experience. Think about the experience that will be relevant for your career, such as education or outreach work. Practical experience is extremely valuable and will make you a more attractive candidate in the world of art galleries and museums. Having the right knowledge and qualifications will help your application, so you should take any opportunity to carry out a work placement.

This promise of the truth seems to imply that painting has something akin to a philosophical or ethical dimension. The course will be concerned with examining points at which painting and philosophy come into contact . Several broad themes will be seen to recur throughout our discussions, concerning spectatorship, optics, the theorising of practice, problems of explanation and interpretation, and the relationship between painting and language.

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