Understanding Art (with CourseMate Printed Access Card)

Understanding Art (with CourseMate Printed Access Card)

Lois Fichner-Rathus

Language: English

Pages: 624

ISBN: 1111836957

Format: PDF / Kindle (mobi) / ePub


UNDERSTANDING ART provides a balanced approach to appreciating art, incorporating coverage of masterworks from the past and present. Author Lois Fichner-Rathus combines a conversational writing style with rich images, all designed to inspire understanding of the art that surrounds you in everyday life.

The Story of Art

Decadence, Degeneration, and the End: Studies in the European Fin de Siècle

Who Was Leonardo da Vinci?

Manet: Biographical and Critical Study

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Ancient Near East  273 Sumer  273 Akkad  274 Babylonia  275 Assyria  276 Persia  276 EGYPTIAN ART  277 Old Kingdom  278 Middle Kingdom  281 New Kingdom  281 The Amarna Revolution: The Reign of Akhenaton and Nefertiti  282 A CLOSER LOO K   King Tut: The Face That Launched a Thousand High-Res Images  283 AEGEAN ART  285 The Cyclades  286 Map 13-3 Greece (5th century BCE)  286 Crete  286 Mycenae  288 ART OF ANCIENT CHINA AND INDIA  290   14 ❘ Classical Art: Greece and Rome  295 GREECE  296

balance, the elements at the top and bottom of the composition are in balance. In Kay Sage’s I Saw Three Cities (Fig. 3-14), a firm horizon line separates a bleak landscape from a bleaker sky. Most of the visual weight in the composition occurs in the lower half, where geometric shapes casting long shadows lead your eye from the picture plane toward a kind of desolate futuristic city. The hardedged structures that litter the landscape, however, are balanced in the upper reaches of the sky by a

death and aloneness in the arts, and fall is a common symbol of either harvest or decline. Yet artists who paint the winter or the fall, or who write of them, may not directly speak of death or of the harvest. “The whole story” does not always show, but rather may lie beneath a work of art. Iconography is the study of the themes and symbols in the visual arts—the figures and images that lend works their underlying meanings. Bronzino’s sixteenth-century masterpiece Venus, Cupid, Folly, and Time

reality” into our lives that is in some ways more alluring than, well, “real reality.” In this chapter, we discuss photography, film (cinematography), video, and digital arts. These mediums have given rise to unique possibilities for artistic expression. effects. Always, they are in search of subjects—ordinary, extraordinary, universal, personal. Photography is truly an art of the hand, head, and heart. Before the advent of digital photography, the photographer had to understand films and grasp

photography came with the introduction by Louis Lumière of the autochrome color process in 1907. Autochromes were glass plates coated with a layer of tiny potato starch grains dyed in three different colors. A layer of silver bromide emulsion covered the starch. When the autochrome was developed, it yielded a positive color transparency. Due to the technical limitations of the process Autochrome Lumière photographs, such as Young Lady with an Umbrella (Fig. 8-7), evoke late nineteenthcentury

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