week 15:maureen: npr on museums

npr started a series discussiong museums in the 21st century.
it's aired during "all things considered" on mondays or you
you can check out the first and second segments online.
first segment url: http://www.npr.org/templates/story/story.php?storyId=97377145
the first segment talks about the misconception by some
that museums are boring. museums are doing alot to
change that. la county's natural history museum used
to have sleep overs in the pre-historic section. lacma
does teen social events with live bands. getty has various
programs as well. one of the more "unique" experiences
is the museum of jurasic technology in venice... not your
typical museum.

Week.13- Joon.s. Lee: Standard of a Beauty

I just gathered some images which have name of Venus and put together to compare the changes a standard of a beauty from the past. As I mentioned, the name of all women figures are venus except for first woman who wears deep red silky dress. She is a famous actress in Korea and now she is working at  popular women underwear brand "Venus" as a main model. In Korea, most people no doubt of her body line is a trend of a beauty now. Not only Korean, but also other country people may agree with the standard of beauty. Personally, I think most of visual objective standard must be pretty same regardless of country, race or culture even in the very past time. So, that's the main point I am just asking a question to our ancestor about artworks about a woman made in the past. Why did they make sculpture like willendolf? Why did they paint body shape of venus like a aunty a next door?  

Week 12: Mackenzie: The Garden of Earthly Delights

Viewing The Garden of Earthly Delights is both an overwhelming and exciting experience. There is so much to look at that each individual viewer focuses on not only different panels of the triptych but different scenes/objects within each panel--possibly explaining why there are so many different interpretations of what exactly each panel signifies. The significance of the left panel seems pretty obvious and seems to start off the left-to-right chronological "reading" of the triptych. The left panel simply depicts God presenting Eve to Adam, starting off a series of events. The central panel displays a chaotic array of nudes engaging in various acts and seems to have a lot of energy and sexual charge. The right panel is a representation of hell and perhaps the consequences of whatever occurred in the time between when Eve was presented to Adam and the actual depiction of hell. This is what sparks the most controversy between various critics of this piece. Some argue that the middle panel represents sin because it is what leads from the presentation of Eve to Adam directly of hell--therefore it must signify a sort of warning against committing sins. Anyone who knows the biblical story of the Garden of Eden would say that the central panel represents the forbidden fruit and when Eve tasted the forbidden fruit, leading to original sin. The central panel is the focus of the triptych, as it gives it it's name--The Garden of Earthly Delights. The chaos of the central panel is appealing to me. The various figures seem to be engaging in whatever activities they want--there are no rules. I think this seems dangerous and fun and exciting. It is as if all of the figures are not afraid of whatever consequences must come their way. They seem to be unaware that their interactions could possibly be sinful and inappropriate, leading to the right column of hell. There is a sort of naivety and innocence in all of the figures--whether human or animal--that seems joyous and free-spirited. Whether the figures are more sexual or just carefree and playing in the water, they all seem to be enjoying themselves. Some interpret this central column as a celebration of a life lived without the realization that consequences exist, and others seem to think it represents the tasting of the forbidden fruit. I think that the final, conclusive message is that whether you taste the "forbidden fruit" (whatever that might be) or whether you live your life without a sense of right/wrong, there are consequences and a price to pay (as depicted in the right column). However, if this is the case and the message of the central column is true, I prefer the interpretation that those figures in the central column are living a carefree, joyous and somewhat dangerous lifestyle (since they are not concerned with rules or consequences). I think this interpretation of the central column seems more fun and less ominous, although the final message is the same. 

Week 12 Daphne- " The garden of early delights."

When i first reviewed this picture my eyes could not stop wondering around because there is so much going on at once! This portrait is known as a " triptych" because it has 3 folds. The more and more I gazed at the triptych, i could not figure out why it had to be so complex and "busy". It appears that the left panel depicts the story of adam and eve while the middle panel is focusing on the idea of nudity which seems to be the main idea/focus after adam and eve commit their first sin- the eating of the forbidden fruit. I also noticed that there is some interaction with humans and animals throughout the triptych. The right panel seems to show the consequences after eating the apple. I believe that the figures to the right symbolizing demonds, insinuating that man has fallen short of God's promise to eternal paradise. When first looking at the triptych i was overwhelmed and unsure of what i should have been focusing on, but after breaking it down section by section it was all clear and easier to understand the overall message or theme.

Week 12: The Garden of Earthly Delights (Lindley Wren)

There is a lot of imagery going on in this depiction of lively figures--both animals and people. The picture is very animated as each person and animal in the image seems to be demonstrating some form of movement. The importance of nature is noted as a result of the vast greenery, bodies of water, mountains, and sky.. It is as if the image is embracing creation and the idea of life. Each character--both animal and human--is brightly noted due to (for the most part) it's bright ivory color and once again, the depiction of movement. The entire image suggests a closeness in community and the notion that every creation serves a role or holds a certain place in the greater society. 

Week 12: Jenny: The Garden of Earthly Delights

The Garden of Earthly Delights is a very eccentric piece of artwork. The first thing that caught my attention is the human devoured by a clam carried by another naked figure as if it is a coffin. I do not understand how this would fit in the middle panel which is supposed to depict earthly pleasures. Another thing i noticed in the middle panel is that the animals seem to be overpowering the naked figures. For instance, the head of the owl is resting on the shoulders of the two figures and they are feeding it with apples, which is the forbidden fruit. On the bottom of the panel, there are dark figures that seem out of place and should be placed in the left panel. Over all, I find this painting confusing with too many details that seem out of the ordinary.

WEEK 12 DECARLIS . aka I Love Pasta!

It makes sense that The Garden of Earthly Delights is Bosch's most well-known piece of art. It's grand scale allows for an in depth integration of detailing in both its content and method of construction. From the exterior to the interior Bosch has constructed the peace in such a way where from an observer's perspective he makes apparent the idea of chronology in his representation of ideas.
On the outside, when the two side panels are closed we see an encased world. This world is void of life both literally and figuratively. When we think of the idea of time it is very possible that Bosch's placement of this sort of globe-like and desolate world takes place before the scenes followed by it on the interior panels. Since its not on the back of the triptych we can eliminate any Armageddon scenarios that Bosch may be alluding to.
When we open the piece we see a depiction of Adam and Eve on the left. By the way Eve's hand is holding God's it is possible that this is her first time meeting Adam. The center panel is particularly interesting in that is appears to be where the vividness and soul of the piece originates. It is not likely that Bosch attempted to make it appear as though a humongous orgy was taking place. Nonetheless, those were my first thoughts when peering eyes on it. If nothing else it is surly a celebration of some sort.
The last panel on the right brings together all the scenes. The depiction of damnation here reverberates the idea of chronological order and the idea of bringing things full circle.
Overall the piece may ultimately serve as a premonition: a kind warning of what life can turn into...

Week 12: Sasha Young: The Garden of Earthly Delights

There are many interesting themes present in Bosch's The Garden of Earthly Delights. One theme that stood out to me was the harmony, or arguably lack thereof, between humans and animals. Nearly every figure in the piece is interacting with an animal in some way, whether it be riding one, like the wild boars and horses, holding one, like the man holding a fish in the lower right, or even petting one, like the man that is seemingly petting a fish in the lower center.
Another thing about the relationship between humans and animals is that in some instances the animals are depicted as being giant, like the mallard duck and birds in the middle left. I think this greatness in size might represent the power struggle between humans and animals. Although we as humans are usually the more powerful force, we as humans are also somewhat dependant on animals for food and materials, which gives them a certain power over us.

Week 12: Rashi: The Garden of Earthly Delights

When first viewing the Garden of Earthly Delights it is a lot to take in. The mind does not know where to focus because there is just too much going on. When the eye finally settles down it finds its self on the left side of the triptych. The left panel has the least going on, in the foreground is Adam and Eve with God and in the background is just landscape along with some animals. The colors are very vibrant, the artist uses a good combination of opposite colors from the color wheel. Against the bright green/yellow grass he places a reddish pink fountain. The repetition of that color is found in God's robe. For me the repetition of that same color pulls the eye along in the triptych to the middle panel where there are way too many things going on in the foreground but in the background the reddish pink color is repeated in four different buildings. Each of the buildings are placed horizontally to the right of the last leading ones eye onto the last panel of the triptych where the color scheme is no where near the last two. It is all dark, more of the use of browns and earthy tones then the vibrant greens. Even among the dark colors one finds that same red color in the center of the panel which brings an eye to a stop because there is no more of that color. In the end that same reddish pink color had the eye going in a semi circle starting at God, moving up toward the fountain across the middle panel and lastly ending on the right most panel to stop. I think its interesting how artists place objects with a certain color scheme in certain areas of a painting to keep the viewers eye moving.

WEEK 12- Nick

Hieronymus Bosch's The Garden of Earthly Delights is easily the most complex triptych that we have explored in class. Not only is it artistically stimulating, it is also a great tool to study the culture of the time. The complexity really shows the importance of religion in that time. The interior is very strange in the fact that the right panel feels very distant thematically from the other two panels. While the left panel looks like the Garden of Eden and depicts Adam of Eve, the middle panel shows a cornucopia of sexuality. This feels like an extension of the left panel especially with several nude figures picking apples from a tree and the skyline remaining constant between the two. The right panel, in my opinion, is the most interesting as it invokes feelings of destruction and malice. While it probably represents hell, it also could serve as an extension of the center panel if the people from the garden continue in their promiscuity. I also found it odd that there was a harp in the panel as well as large ears. Another reason why it could be the garden in the future is that the skyline matches even if the colors and images are drastically different.

Week 12: Jill: The Garden of Earthly Delights

Created by Hieronymus Bosch, the triptych entitled "The Garden of Earthly Delights" tells the artist's negative opinion of Earth's and mankind's history. The story starts when the triptych is closed. Together, the two panels depict Earth upon creation - or at least before God has created humans and animals to live on it. Earth is empty except for vegetation, and, overall, the colors are very bland (especially when compared to the triptych's inside). There is a small figure in the upper left corner which is probably meant to be God himself. Once the triptych is opened, three different panels, each chronologically telling of a different time, are visible. The first panel (on the left) shows the moment when Eve is presented to Adam by God. This represents the period before humanity has given into temptation and sin. At this time, Earth is probably in the season of spring or summer. The colors are bright, and the atmosphere seems peaceful and serene. All of the beings are happy and/or taking part in the circle of life. The next panel (the larger center piece) is painted in the same colors, but, at once, one can tell that the mood is quite different. There is much crowding and what looks like chaos. The scene is not just full of humans and animals but many fanciful beings and objects (Ex: larger than life fruits and animals). Men and women, without shame, are cavorting wildly and engaging in different types of sexual acts together. They also look to be taking advantage of the surrounding animals by riding and crawling on them. This panel represents giving in to Earth's temptations. The last panel (on the right) is very different from the two panels to its left, symbolically and visually. Dark and dreary, this panel represents the repercussion of man's sins: eternal damnation, or Hell. Among many other images, we see demons, infernos, torture, corpses. Overall, the scene communicates man's agony and shame. All of the panels put together, we see peace in the beginning before the Original Sin, chaos and decadence in the middle when man has given in to temptation, and, after this temporary delight, the painful consequences towards the end. Serving a purpose. Bosch's triptych, then and now, acts as a deterrent against sinful behavior. 

Week 12:Sam, Seung-Hwan Kim, the garden of earthly delights

One of the most famous paintings of Bosch, the Garden of Earthly Delights is not only very intersting but also difficult to interpret. His triptych consists of three panels, creation, fall, and punishment. These three panels are closely related each other. On the left panel, with a very bright color, Bosch depicted paradise at the time of Genesis. And he also depicted the creation of human being and animals is described on the first panel. An old man on the panel who probably corresponts to God is holding Eve's hand. There is no sin but there is a close and positive relationship between God and human. Moreover, in relation with animals, human takes higher position than animals within the relation with God. However, as moving the attention to the right, mankind falls into the sin and seeks for "earthly delights," sex, which leads their position to under animals. On the centen panel, humans commit sin. Bosch depicted people who ride horses, unprotected sex, are making love with animal, and hold a large strawberry. All these behaviors represent sin, "earthly delights." The position of mankind, again, lowered to the same position as animals. The last but not least panel descrebes the hell as a punishment of sin that humans commit. Overall, the color of the panel is dark and the red. Views hardly find the brightness, which they easily found on the first two panels. The entire atmosphere is very gloomy and pessimistic. On the center of the penel, a monster with human figure has a half- cut body and allows us to see inside. The inside of the body looks like a pub where people drink and a place of "earthly delights." As a punishment of their sin, people are suffering from very disgusting environment. Finally, animals took over humans' position as we see the scene that rats rape women and a pig is smiling while taking a nun's veil.

Week 12: Kathryn: The Garden of Earthly Delights

The Garden of Earthly Delights is considered to be Hieronymus Bosch's most well-known work of art. Honestly, I find the whole triptych rather confusing. It is hard to tell exactly what is going on and how the three panels relate to each other. Overall, I do feel like it is a representation of the Creation, but that seems to primarily take place on the far left. As it moves to the right, the paintings become darker, literally with light and figuratively with the subject matter. It seems almost like a story. The far left represents the beginning of the Creation. This is clear through the depiction of Adam and Eve in the Garden of Eden. The far right represents the fall of mankind. In essence, the triptych can be read from left to right as events in chronological order. 

Sarah Webb: The Garden of Earthly Delights

A spectacular and richly detailed triptych, The Garden of Earthly Delights depicts the biblical story of the Earth's creations, and man's eventual damnation.  With the scenes running from left to right, the first panel shows God with Adam and Eve, whom he has just created.  There is a deep sense of peace and serenity amongst the lush green landscape and exotic creatures.  The scene, however, turns chaotic as the viewer's attention moves to the middle panel, characterized by a flurry of ornamental fruits and flowers with a mass of life-sized birds and entwined naked bodies.  This represents man's deviance from God and the turn towards carnal pleasure and sin.  The consequence of this action is revealed on the far right panel, where Bosch portrays human suffering in hell.  The naked figures now look contorted with pain, quite opposite from the fluid, flowing and lively bodies in the previous panel.  This final panel is set against a background of fire and destruction, characterizing hell as a dark place of eternal punishment.  

Week.12- Joon.s. Lee: The garden of earthy delights.

Through the garden of earthly delight, I could find various kind of features that consists of painter's multiplicity of imagination. First of all, I couldn't believe a kind of splendid color variations that have ever seen any artworks before in that period.  Because I learned oil painting before, I know well that it is really hard to control and mix up with many colors, and  creating a unrealistic existence from imagination using with oil painting need to not only brilliant ideas but also very detail, even special ability to express oneself. In this painting, three parts of panel shows different kind of story using fantastic coloring and unbelievable imagination. First panel is pretty easy to approach to get a main story "adam and eve",god and apple tree around them. Through atmospheric perspective, it shows a distance between main field and background pretty well. At the middle of first panel, pink-toned big spiral somethings on the water seems to a symbol of peace and also looks like a fountain but the painter put a unrealistic, even lifelike thing on it because I feel like a kind of face something is smiling with triangular shaped mouth at the top of round(bottom) and the bottom of spiral. Anyway, I think painter mignt be want to describe the very beginning of earth so there are only few single one of each animals. For the second panel, I think that is a kind of prolongation of first panel with many themes like hunting, harmony, celebration and human prosperity. However, this panel looks too much busy because of over features with humans and animals. Personally, I guess that painter seemed to depict his ideal like "we are the one" regardless of race or subject (human or animal) and put it together in one panel. By contrast with early two panels, the last panel is totally different than others. The panel just expose very directly about negative life or the end of moral gangrene. Very dark background that consist of irregular explosions from buildings at the top of panel and confusion in direction of crowd seems to give hint to people the end of life from middle panel in a sense. Moreover, some of knives painting feel even frightened. In a word, these three panels are compressed level of human life depend on control and these are an advanced warning to people who are living in todays.    

Week 12: Maureen: Garden of Earthly Delights

The left panel of the triptych is rather serene if taken on its own. This other worldly environment depicts God presenting Eve to Adam. Adam is relaxing on hillside near
pool. Various animals, real and imaginary, are interacting in this surreal landscape.
The garden of Eden, while humans are still innocent.
In the center panel, humans have fallen from innocence, fallen from God's graces. The panel depicts chaos. While still a surreal landscape, there is no serenety. It all appears to be a jumble of various activities. Humans riding animals in a circle around a pool of women in the middle of the panel. Several exceptionally large berries are being eaten throughout, in addition to a number of larger than life, or these humans, birds. These must be symbolic for something. I don't know about the birds.
The right panel surely must be hell. Various depictions of suffering. Musical instruments used for torture. Oversized animals devoring humans/souls. Abstract images of items like knives coming out of ears, skulls hanging humans by poles or spears. Where the left panel is serene and peacefull this is grotesque and tramatic.
Perhaps Bosch was attempting to portray how living by God's laws would lead to serenity, while living a life of earthly delights(sin) would lead to endless suffering. It is unlikely that the images he used in these panels simply represented what they appeared to be.
Interesting that several of the images we've looked at remind me more of Dali's work. Does that say something about the medieval mind or about Dali's?

Week 12: Molly: The Garden of Earthly Delights

I think Bosch's triptych is very interesting. On the left panel is Adam and Eve in the Garden of Eden. They enjoy a natural relationship with nature. Adam sits on the green grass and the animals carry on around him without disturbing him. In the central panel, human relationships to animals and human relationships to nature descend into chaos. I think it is a massive orgy. As people experience more pleasure and delight (as the title suggests) men and women descend into the raw, animalistic natural world. I think the right panel depicts hell. People are punished for their sins and receive the consequences for their actions. I think it can be read from left to right as humans are formed in God's grace in Eden, then turn away from God toward pleasure on earth, and finally end in hell as punishment. It may have served as a warning for people to turn back to God in order to prevent yourself from going to hell.

Week 11: Ara Pacis

My friend is studying aboard in Rome and I found out she went to visit the Ara Pacis, which was one of the artworks on the midterm.

Week.10- Joon.s. Lee: Fresco in Japan

The name of this painting is "Takamatsu" fresco found in Japan. Such as "Fresco in Arena", this painting also have religious coloring based on fresco. In terms of this painting, most of Asia believed in Buddhism so coloring of this painting basically came from buddhism. However, Takamstsu didn't depict directly about Buddha's greatest life unlike life of Christ in Fresco Arena. they just seemed to show people's part of daily life but using splendid color (symbol of Buddhism) for traditional dress or accessories of figures.      

Week 10 Seung-Hwan Kim: Cleaning of the frescoes

In Thursday's lecture, professor Howe mentioned about the "Lamentation," with a slide. She said the picture of the fresco is bad because it is taken before cleaning. Here, I found an interestiong article about cleaning of the fresco, Michelangelo's "Last Judgment." During my trip to Rome this summer, a Vatical city tour guide informed that the Japanese broadcasting NHK invested $90 million to cleaning the dust on the masterpiece. Professor Howe's lecture reminds me of the tour guide's comment. "In 1989 Mr. Colalucci and his team completed the extensive cleaning of the ceiling frescoes, which were done 25 years earlier than the "Last Judgment" and depict the biblical narrative of the creation and Adam and Eve. The cleaning stunned art historians and restorers alike for its revelation of the artist's use of stunningly bright colors, but it shocked others who feared the work had been permanently disfigured."
http://query.nytimes.com/gst/fullpage.html?res=9400EED9143EF93AA35757C0A962958260

Week 9: Seung-Hwan Kim, Some thoughts about Gothic architecture

As we learned and discussed in the class, some unique features distinguish typical Gothic Cathedral from other types of Cathedrals. Flying Buttress, which distributes weight out of center, pointing and sharp top, and taller arch in a height are the most distinctive features. We also talked about these features  without talking why people actually constructed the churches so "high" and "vertical ?" People could have constructed vertical and high churches to express their hope that they get closer to God or heaven. with the same thought, Flying Buttress architectural style which is basically constructed to distribute the weight from the top, can also be interpreted as a way to heaven because the Flying Buttress looks like a bridge between the dome, which represents heaven,  and the buttress for earth. 

I am not sure if it sounds strange but I tried to interpret the behind meaning of "the Gothic" in terms of Christianity.   

Week.9- Joon.s. Lee: Art in Fashion!!

The first image(left)  basically come from one famous fashion show in Paris at last year and the other one is from stained glass in Notre-Dame. in the first picture, models wear different kinds of dress that printed stained glass decor and move on the runway. Also, they make their faces and hairs up looks like a goddess or divinity in the myth so that could be support their themes of dress. moreover, composition of the baby print on women's left shoulder and stained glass color code like skin-toned in her whole leg part and blue on the top seems to model and the print unite into one perfect exsitance in my point of view.   

Week 9: Maureen: Free admission to LACMA

Apparently Bank of America has a free general admission to
LACMA on the first weekend of every month, just by having
any of their cards. I heard this on NPR this morning, so
haven't tried it. Note it's only for the general admission, not
to any of the special exhibits.

Daphne Opoku-Art in the Media 10/26

I found this picture from the Metropolitan Museum of art entitled " Addressing Art". What i found striking about this attire was its elaborate knitting and detail. According to the article "wool became symbolic of British civility and freedom and was adopted as a fashionable fabric". The coat can be dated back to the 17th Century which insinuates from its elaborate detail that it was worn by a king who held power and prestige within his kingdomship, an attire like this emphasizes political status.

Lindley Wren: Purse cover from Sutton Hoo/Modern Day Clutch

This is a purse cover that can be purchased at high-end department stores like Neiman Marcus. LIke the purse cover from Sutton Hoo, any individual sporting such a purse cover as an accessory can likely be closely linked to wealth and/ or authority.  This particular clutch is very detailed and ornamented like that from Sutton Hoo. Both suggest that the artist put a lot of effort into producing the items. Although this modern day clutch does not have depictions of wild animals (Janson's), this clutch does offer its own depiction of nature through the floral design. 

Week.8- Joon.s. Lee "Similarity"

I found my own image(top) from one of article in Korea Times that is a bird-eye  view of Palace at Chosun dynasty of Korea(13th century) and tired to put together with Monastery of saint Gall because I felt both are look like  little bit similar in composition of structures. Even if the style of forms are totally different, people may guess that the function of each buildings might be quite same.

Week 8: Nick- "Pushing Daisies"

As I was looking through the news, I couldn't really find anything pertinent, but I found my inspiration for this assignment while I was catching up with my TiVo. During the Pushing Daisies episode from last week entitled "Bad Habits", the main characters (private investigators with one of them being able to bring the dead back to life) investigated a death at a nunnery in the mountains. Many of the scenes took place in their church and I saw many of the same structural aspects we discussed in class. The nunnery resembled the basilicas we discussed while, during a heated confrontation in the church, I noticed two aisles, a nave, a  and an apse. This was really interesting as it provided the actors with varied blocking and used these structural features to create a more compelling scene. I tried to find the best pictures of the nunnery resembling a basilica, specifically the Old Saint Peter's Basilica.

Week 8: Jenny: High School Musical 3 World Premiere

I was reading a news article regarding how the movie High School Musical 3 reached $42million at the box office this weekend. In this article, it contained a picture of Vanessa Hudgens and Zac Efron and it reminded me of the Egyptian Sculpture of Menkaura and Queen khamerenebty. Both couples are in unity and successful in their own respective careers. Moreover, the facial expressions for both couples seem unnatural and forced. Vanessa Hudgen's hand is wrapped around Zac's waist which is what Menkaura's wife does to Menkura as well. This shows indication of support and partnership.

Week 8: Rashi: McCain and Obama try a little western swing

So I was going through the news on Yahoo! and came across this picture, of Senator Obama. The first thing I thought of when I saw it was this looks like such a cliche authoritarian pose. Actually the image that came to mind was of Augustus of Primaporta. They both have their arms extended and are in that very authoritarian type of stance. Another thing the two have in common is that their weight is not evenly distributed between both legs, Augustus has his weight on one leg more so then the other (controposto) and Obama has one leg in front of the other as if he is walking. 

Sasha: Week 8: "Berkeley Big People"

In the San Frasisco Chronicle I found an article about the sculpture "Berkeley Big People", created by Scott Donahue. I was instantly reminded of Roman sculpture, especially the "Laocoön". The way the two sculptures are made up of severel figures all fused together displays a distinct similarity. Also, both the figures in "Berkeley Big People" and the "Laocoön" have expressive facial expressions and body language. They look like they are full of emotion: pain in the "Laocoön", a statue that depicts punishment, and persistense in "Berkeley Big People", a statue representing "protesters agitating for various causes". The figures in both sculptures are also both done in a naturalistic style, with a realistic canon of proportions.




Baker, Kenneth. "Comment: 'Berkeley Big People' invites mockery." San Fransisco Chronicle. 21 Oct. 2008. 24 Oct. 2008

Week 8: Kathryn: Rock Paintings Discovered

During the first week of this class we learned about the Caves of Lascaux. While I was looking for something to write about from the news this week, I discovered that in the isolated Aboriginal territory of Arnhem land in northern Australia a huge collection of rock paintings was just discovered during an expedition that took place over this past August and September. This collection is made up of literally thousands of paintings, many of which are of different types of boats including ocean liners. What is so interesting about this find is that this culture was believed to be completely isolated and removed from the outside world, but these paintings tell a different story.

Week 8: Sarah: Gargoyles In the Home

In an article about home decorating and design, the author Deborah Snoonian suggested the use of gargoyles around the outside of the house as a stylish, spooky and functional addition for this time of year.  Even now, these 13th century creatures are emerging in modern day home decor, although not exactly for the same purpose.  These gargoyles do not have the same religious importance as those that keep away the evil spirits at the towering corners of the European cathedrals.  They take on a more functional and superficial role in this aspect of today's society, as they are merely there to "shunt water away from your house's foundation" and are meant to have an aesthetic purpose.  

Week 8: Jillian: Chanel's Mobile Art Party

On Tuesday night, New York  City (along with many of it's most famous celebrities) saw the opening of Chanel Mobile Art's "Contemporary Art Container." This avant-garde art exhibit was created by Zahi Hadid, an award-winning artist and architect handpicked by the visionary Karl Lagerfeld (Chanel's artistic director). The white fiberglass pavilion houses commissioned art installations (done by sixteen artists that include Yoko Ono) inspired by Coco Chanel's legendary 2.55 quilted handbag. Having already been to Hong Kong and Tokyo, the global exhibit will be in NYC until November 9th when it continues on to Moscow, London, and Paris. Though tickets need to be reserved in advance, entrance to the "container" is absolutely free. As Lagerfeld stated on Tuesday: "Chanel is supposed to be for everybody." Indeed, this Chanel event could only have been the brainchild of the iconic and untouchable Karl Lagerfeld. Recently named to The Time 100, Lagerfeld is often thought of as the most famous fashion designer in the world. The designer, also a skilled photographer and avid art collector, went on to declare: 

"We don't need art, but we cannot live without it." 

Like we have seen in the course, art is everywhere imaginable being expressed in quite unimaginable ways - and fashion is one of these ways. Some may feel that it just consists of articles of clothing one wears by necessity but they're wrong. Rather, fashion is an art form in it's own right - an art form which, as Lagerfeld reminds us, we cannot live without. 

More information about Chanel Mobile Art

More information on and pictures of the NYC opening

Week 8: Maureen : Financial Crisis and Art

National Public Radio(NPR) had a piece this morning
talking about the current financial crisis and Russian art
collecting. Typically when there are issues with the
stock market, people look elsewhere to invest whatever
hard cash they have to ride out the bad times. Gold
always goes up in value. Property normally is a good
buy as well. I hadn't thought about it before, but art
might be a good investment. If you knew what to buy,
didn't over pay, buy low, sell high... hmm sounds
very familiar. The story talked about the Russian art
market's evolution and how the newly rich Russians
didn't necessarily know what to purchase. They would
stick to local artists, as well as the more well known
international artists. Almost like buying bluechip
stocks thinking that you would be protected by that
valued company from market fluctuations. That
didn't happen just now. Even some of the art can't be
guaranteed. I believe the Getty announced fairly
recently that one of their pieces that was supposed to
be from a well known artist, was actually a forgery.
While art could be an investment opportunity, I don't
believe that it is not necessarily any safer than stocks.
I'll just stick to my emotional purchase of art for enjoyment.

Week 8: Molly: Article about Acropolis

I read on Yahoo News that scientists are using new laser technology to clean up the Acroplios in Greece. Scientists are using a system that uses infrared and ultraviolet rays at the same time. But even wearing goggles, scientists can only work for 2 hours at a time using laser beams. I thought it was interesting because they are finding decoration and inscription that had been lost for centuries but, at the same time, we have no idea how this treatment will affect the Acropolis one hundred years from now. There have already been restorations that have actually hurt the buildings more than helped despite the best of intentions. I think it is important that we preserve these buildings but where do we draw the line at what is too radical? This article explains one way we respond today to art of the past-we try to preserve it.

You can check out the article through this link:
http://news.yahoo.com/s/nm/20081017/lf_nm_life/us_greece_acropolis

Question from Lecture

Coins From Sutton Hoo
Burial Ship
England 615-625

During lecture Dr. Howe mentioned that these ships were important because it had the dead body of an important figure in it. I just wanted to know why this was significant? Was this common among the Iconoclasm period?

Week 7: Molly: Comment on The Christian Basilica Article

According to Stalley in The Christian Basilica, "The more spacious and highly decorated churches constructed after 313 evidently contributed to an increase in the formality of proceedings, and in this respect it was the architecture that had a direct impact on the liturgy" (23).
I thought this was a really interesting idea. I had not suspected that the procession to the altar became a integral part of the Mass because the nave was now longer, making the apse farther from the narthex. When, while being persecuted, Christians met in certain people's homes in the city, they probably did not have an opening procession but now the basilican plan allows them to create a new tradition. The larger, grander building created a grander, more formal Mass. The architecture of a building impacts what actually takes place inside it.

Daphne- Nodleman and Welch

The main argument that seemed to be understood among the authors is that Roman and Greek art have artistic similarities. Welch mentions that Roman portraits seem to be more realistic than Greek art specifically in the sense that Roman sculptures show the natuaralistic features of the human body including wrinkles and facial scars, this insinuates that the Roman artists had a sense of human anatomy and how the body works. I think a good example of a naturalistic Roman figure is Aphrodite at Knidos, Rome. Aphrodite can be seen as naturalistic because of her modest stance and body language, and the possible scars/scratches that seem to appear on her added on arms and legs.

Week 6: Nodleman and Welch

When Nodleman speaks of Roman art as  a system of signs, he is concerned with its function as a whole and what it conveys to the audience.  The art is in fact a culmination of signs meant to portray a certain message to the spectator.  This was what in fact set Roman portraiture apart from that of the Greeks: its ability to be interpreted as one idea through a series of separate elements, each with their own individuality.

According to Welch, Roman sculpture is in fact almost entirely based on Greek sculpture, as they considered it to already be perfected in its original state.  However, stylistic changes and innovations still occurred, as there was no pattern as to what the Romans considered were the best attributes of the Greek sculptures.  An excellent example of this sort of stylistic blend is the Esquiline Venus, which combines different body types and styles from both the Greek and Roman eras.  This adoption of Greek style was also apparent in the Romans' use of sarcophagi as funerary monuments, which they commonly adorned with battle scenes due to their tumultuous and militaristic way of life.

Week 6: Sasha: Nodleman & Welch

One of the "signs" Nodelman could be referring to of Roman portraiture is the sign that the portraits reflect "an acute awareness of the spectator". Nodelman talks about how Greek portraiture does not transport the spectator into the portrait's world, and the spectator remains "untouched". In Roman portraiture however, the portrait's "gaze is directed upon the spectator" and in turn, lets the spectator become connected with the work of art.

As Kathyrn mentions, the Romans incorporated subtleties of their own unique style to their works of art. Welch talks about how Roman portraiture is more realistic than that of the Greeks in the sense that physical flaws are included in Roman portraits, such as wrinkles, flab and facial scars.

Week 6: Lindley Wren

The viewpoints of Nodelman and Welch slightly differ in regards to the development of Roman portaiture. Welch seems to highly attribute the roots of Roman creations to the Greeks.  While Nodelman recognizes the development of portraits and statues to having begun with the Greeks, it is implied in the Nodelman article that Roman portaiture took on a unique and modernized approach to art that was very different from the Greeks. Nodelman notes how Roman portaiture is highly different from Greek creations in that the Roman sculptors took into close account political and social issues of the time and tried to trigger a response and understanding in the viewers of a particular work of art. Such a response was easily generated by paying close attention to the development of the work of art in regards to physical attributes (such as the direction of the subject's eyes and the expression on the subject's face).  

Week 6: Kathryn: Nodelman and Welch

1) When Nodelman says Roman portraiture can be described as a system of signs, he means it in the sense that Roman portraiture, like signs, is intended to grab the attention of the viewer with "the intent to convey a message" (11). Many of these messages dealt with the political and social ideas of the time. This is evident in examining the busts of the Republican Julius Caesar. Their "faces closely reflect the prevailing temperament of class and society to which they belong" (13).

2) To Katherine Welch, Roman sculptures adopted many of the characteristics of Greek sculpture, using the Greek sculptures as a sort of blueprint to follow. This is of no surprise, since the Romans considered Greek sculptures to be already perfected. It is only fitting, therefore, that they would want to imitate them. However, Roman sculptures were not a direct copy of their Greek models. These Roman sculptures also reflected elements of their own culture.  An example of how Romans adopted the Greek characteristics in a relief sculpture can be found in the Great Trajanic Frieze, and an example of how the Romans did this with portraiture can be found in the Ara Pacis Augustae.

the art historians lens 9/28

I justhad a few questions:


1. Why is Knossos, Crete so significant and a site of intrigument?

2. I noticed in the reading that Evan's reputation fared better than Schliemans bc he used "Stratigraphy" (using deposites in excavation) what exactly does this mean?

Week 5: Alex - Schliemann vs. Evans

To me, it would seem that Evans should be ridiculed more. Reconstructing the ancient ruins of other civilizations does not seem like it helps the science at all. In fact I could view that as more detrimental considering it can tamper with the hard evidence found at the sight. Instead, based off of the context of the article, Shliemann should not be so harshly judged. It seems as though he was just a man trying to fulfill his boyhood wonders. If evidence that he had done what he was accused of, such as mass collecting different artifacts and then placing them in a certain place, then my stance would completely change.

Week 5: Jillian: Schliemann & Evans

Like many others have already said, I really don't understand why "Evans's reputation has fared better than Schliemann's." 

The self-made Schliemann was the one who started in all. In 1871, he was the one, due to his successful business ventures, who was able to take a leap of faith and start digging at the Turkish site of Hissarlik - believing it to be Troy. Though there have been rumors that his methods were in that infamous "gray area," it sounds like, from reading the article, that none of these rumors have been entirely proven. The article also mentions that the German excavator was interested in the site of Knossos on Crete but was unable, for unstated reasons, to purchase the land.

Nonetheless, Arthur Evans was able to. (Was it because his dad was a "renowned British naturalist?") Upon obtaining the land, Evans paid special attention to the technique of stratigraphy - the supposed reason behind his positive reputation. However, he also performed a "considerable amount of reconstruction" (using concrete, not mud brick or rubble masonry like the Minoans utilized originally) causing much of what a visitor sees at Knossos to be far from authentic and potentially entirely inaccurate.

I feel that, in the end, Arthur Evans's vast "remodeling" will prove to be much more destructive than anything done by Heinrich Schliemann.

Week 6: Eric: Discussion

Somehow none of the previous blog posts correspond to blog assignment, I must be missing something. Anyways...

1) Nodelmann describes Roman art as a system of signs. These aren't signs to point out anything concrete to the viewer. But rather like signs, Roman portraiture captures its viewer's attention. A glimpse of the busts of Julius Caesar and the Republican brings attention to certain physical features, primarily those around the face. The details reveal wrinkled skin and balding hair, while the overall portrait reveals a serious espression that seems to describe the state of societal matters of the era. Roman portraiture becomes a sign that describes the happenings of the past.

2) According to Katherine Welch, Roman statues take on a very Greek appearance, using Greek characters as models, and also having been created from marble or bronze. The Roman appropriation of Greek sculpture as pointed out by Welch, is a synthesis of various Greek styles. Greek sculpture was already perfected in the eyes of the Romans, so Roman artists created with styles from several Greek periods at the discretion. An example lies in a relief sculpture from the Great Trajanic frieze. It depicts a scenery and was used as an architectural ornament.

Week 5: Schliemann and Evans

It is obvious that both these archaeologists played critical roles in the discovery and preservation of ancient sites and artifacts.  However, I also felt that they each had their share of undeserving words.  For one thing, Schliemann's criticism seems somewhat harsh, as his excavation of a precious artifact is shadowed by his alleged rudimentary techniques.  On the other hand, it is almost as if Evans' praises overwhelm the negative effects of his excavation.  Although he did in fact establish a chronology for the Minoan Era, his work in renovating the area has completely altered its character.  The mystery of the mythology and grandeur of the site's history has been severely diminished as a result of Evans' work, despite his good intentions to further the world's understanding of ancient archaeology.

Week 5: Rashi: Evans vs. Schliemann

I personally think that Evans deserved to be criticized more so than Schliemann. In the article it says that Schliemann was criticized for his excavation methods being destructive. Although his methods may have been more destructive than Evans', I think that Evans was more destructive than Schliemann was.  Something about reconstructing ancient ruins just kills it for me, because it takes away the essence of being ancient.

week 5 - Maureen - Does the end justify the means?

This article posts several questions regarding the work of two men that are have played
critical roles in art history.
Was Schliemann so driven to prove that Homer's work was based in historical fact, that
he would overlook fact? Would he fabricate items to aid in substantiating his theory?
Does the interest of the pre-Hellenic world generated by Schielmann justify his poor
scientific methods, and possible fraud, by art historians?
While Evans was more scientific with his aproach to excavating Knossos, was his
interpretation of the find the only possible solution for the restoration of Knossos? Can
one person properly evaluate a ruin and reconstruct it to its exact initial likeness?
I believe that Evans felt he was doing the right thing. He understood the importance of
scientific method in excavating the site, and would logically utilize it to reconstruct the
site. Depending on the initial conditions of the site that Evans encountered, I would
believe that there could be multiple interpretations of what was found, and that Evans'
was only one. Unless there is hard proof of the physical make up 0f a ruin, like Jaques
Carry's drawings of the Parthenon, reconstructing a site based soley on items excavated
and one person's evaluation is destined to have faults.
(look at all the examples on this blog of the different interpretations of just a single
article. then think of the differences that thousands of artifacts could conjure up)
Schielmann was a intellegent, wealthy business man at 41. The article does not indicate
how he made his money, nor what, if any scientific background he may have had. He
truely believed that Homer's work was based in fact and could be proved. He spent his
own money and time, buying land and excavating to do this very thing. But if he was
proven wrong, or did not find enough to substantiate his theory, was he the kind of man
that would say so? Based on his statement regarding the gold funerary mask at Mycenea,
I have doubts.
Both these men made contributions to art history none the less. Schielmann's splashy finds
made the average person interested in art history, as well as piqueing the intelect of the
scholars. Evans provided an "essential historical frameworkfor the Agean world" and a
site laypeople could understand, even if it is not necessarily historically accurate.
Does the end justify the means? I don't believe there is a true answer here. I believe that
Evans probably was doing what he thought was correct. I'm less certain about Schielmann.
Intentionally or not, both had an impact on art history, and are still influencing to this day,
as we discuss their roles here.

WEEK 5: NICK: SCHLIEMANN VS. EVANS

From the article, it is interesting to see the different perceptions people had regarding these two scholars given that, at an empirical standpoint, they were both in the pursuit of the same goal and had somewhat similar ways of achieving it. Evans may have had a more scholarly approach, but these attacks against Schliemann simply for being enthusiastic about his work are unwarranted. Both achieved great milestones in their fields, Schliemann with fueling interest in pre-Hellenic art and Evans with creating a chronology for the works he discovered, so it is irrational to think that one be chastised while the other praised. It is relieving to see that Schliemann was properly assessed and can be looked at with a scholarly lens. I also think it is very irresponsible to simply restore part of Knossos. By restoring part of an ancient structure, it loses the ancient allure and mystique but lacks the grandeur and elegance a complete restoration would bring.

WEEK 5: The Treaser Hunter vs The Golden Boy

I know my title may seem a bit generalized but after reading "The Art Historian's Lens" I find my self baffled at Art History's scandalous beginnings. Who would have thought?

On one hand we have Heinrich Schliemann, who, if this was a movie would play, "good cop gone bad." While Heinrich is presumed to have destructive excavation techniques throughout his life he managed to master 15 languages. Is he a genius? Well that would surely explain his motivation to go to the dark side. The side where he lies to publication organizations, and takes on this grave robber image. What truely happened over time is his growing recognition of his own potential. His potential for a wealthy future and for his name to go down in history despite its connotations.

And on the other we have Mr. Arthur Evans who is the innocent serial killer that not to many people notice. Evans unlike, Schliemann may have had better excavation techniques with his close research in the field of stratigraphy, the process of using layers that allow for time relativity of information, but he never understood his true potential. The potential that detours archaeological ethics and morals.

It was pretty interesting reading through the "ART HISTORIAN'S LENS." I wish my glasses were as cool.

Week 5: Mackenzie: Schliemann and Evans

Although both Schliemann and Evans have been criticized for the specific techniques they've used in excavation, there is no doubt that both men have made huge contributions to the fields of art history and archeology. Schliemann was called destructive for not using proper technique, and was seen as more of a treasure hunter than a true historian. Although Schliemann's motives to follow Homer's myths and find the treasure sites may have been personal, the final result is still valuable to the fields of archeology and art history. The Funerary Mask (mask of Agamemnon) that he found at a shaft in Circle A, Mycenae, has been valuable in our studies as we compare the more natural form of the mask to other royal masks in a more natural vs. ideal style. Although he alerted the press and told them he had "gazed into the face of Agamemnon" and was later proved to be incorrect, there's no denying that his find of this mask has given us good context in comparing it to other pieces of work. Evans, on the other hand was criticized for rebuilding the Palace Complex at Knossos, Crete in such a way that could be misleading to an unknowing viewer. Yet, the reconstruction he has done has helped us to understand the civilization and culture of the people of Knossos, Crete in order to compare them to other cultures. From Evan's reconstruction of the Palace Complex, we've learned that the people of Knossos, Crete thought that mountains were sacred and oriented their Palace Complex to complement the mountain. No reconstruction can be absolutely perfect, but Evans' reconstruction has really helped us to understand the history and context behind the Palace. Both men may have been criticized for their techniques, but without them, we would be missing out on a lot of information about specific pieces of artwork that we now can appreciate, thanks to them.

Week 5 : Jenny:Schliemann vs. Evans + Reading Questions

Reading Questions

1.)
Nodelaman would like to suggest that Roman portraitures are comprised signs and symbols to express the meanings behind the artwork. The sculpture of Augustus is an example that uses references to convey messages. The breastplate of Augustus is to signify the victory of the Romans when the Parithans returned the standards. His right hand is extended to address his enemies (the Parithians). The cupid that is situated beside his ankle serves to remind the viewer of Venus.

2.) The Romans adapted many of Greek’s art elements into their own. They copied original Greek statues and used them as decorations in their villas. The Great Trajianic frieze, an example of relief sculpture, resembles the frieze of the Parthenon as they both narrate events.

Schliemann Vs Evan

I do not think it was appropriate to allow Arthur Evans reconstruct the site as the final product only portrays his view of the palace, which may be inaccurate. Not only is the reconstruction misleading but it destroys the true nature of the artwork.

Week 5: Molly: Nodelman and Welch

1.) Nodelman means that Roman portraiture is a combination of unique elements that are needed to create the whole. For example, when he describes the statue of Augustus from Prima Porta he emphasis the juxtapositions of meaning found in the sculpture. Augustus’ gesture of address “possessed a well-established meaning in Roman society” (15) while his bare feet (incomplete military uniform) references “the ideal nudity of heroic statues” (16). His face is youthful to contrast with the old men of the “veristic” age and give new hope to the empire. His gaze reflects “the old-Roman virtues of rigorous self-control and implicit acceptance of the binding force of social order” (17). This sculpture became an icon because of its multiple layers of meaning and references that people viewing the sculpture would understand. It is a combination of elements meant to elicit a certain response from the viewer, which is what Nodelman means when he describes Roman art as a “system of signs” (11).

2.) Roman sculpture’s distinctiveness is in its “stylistic variety” (38). Roman sculptures borrowed from Greek sculpture and then infused elements unique to their own culture. For example, The Esquiline Venus is actually a combination of the Hellenistic Aphrodite Anadyomene with a Classical body and face (40). The statues that were created responded to the Roman market demands. Another example is statues “from the circle of the god Dionysus” that owners of Roman villas purchased to decorate their homes (40). The sculpture was respected for its part in Greek mythology while allowing viewers to relax as Dionysus is, after all, the god of wine. Another example is a revival of the Greek-style sarcophagus. But, again, what was depicted depended on the owner. Ultimately, Roman sculpture took what it thought best in Greek sculpture and adapted it to the messages it wanted to convey to the viewer (38).

Week 5: Molly: Schliemann and Evans

I thought it was interesting that Evans had a better reputation that Schliemann while Evans' technique can be viewed as just as destructive as Schliemann's. I think it was inappropriate to simply rebuild part of the Knossos palace. I do not know if he gave other historians a chance to see it before his renovation or artists a chance to sketch it in its original recovered form but I hope that he did because that might have been more helpful to understanding Minoan culture than his renovation.
I thought it was an important passage and I am glad that the book addresses this information.

Week 5: Kathryn: Schliemann vs. Evans

After reading about Heinreich Schliemann and Arthur Evans, I began to think about their impact on the archaeological world.  I feel that despite the controversy surrounding some of their excavation techniques, they made important contributions to the scientific community.  It's clear that both of these men truly loved what they were doing, and they were trying to uncover treasures of the past for the world to study and appreciate.  I wonder what Schliemann's feelings were towards Evans during their lifetimes and if he would be upset now knowing that Evan's reputation has fared better over the years than his?

Week 5: Sasha: Schliemann vs. Evans

When I read about the two excavators, Schliemann and Evans, and how many people had more respect for the latter, I could not help but wonder what the two thought of each other.

Schliemann was older than Evans, and had begun excavating Hissarlik at age 49 when Evans was only 20 years old. Perhaps Evans thought of Schliemann has a sort of hero, someone to look up to. Maybe Schliemann even inspired Evans to excavate.

Schliemann, on the other hand, was already dead by the time Evans began excavating the Palace of Minos, so who knows if Schliemann ever had much of an opinion of Evans.

Week 4: Molly: Question about Midterm

I have two questions:
How would you recommend studying for the midterm? (For example, do you recommend flashcards with the artworks?)
Is there a certain area we should focus on? (For example, is knowing the title and date of an artwork worth as much as describing it well or is the description more important? )

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