Art Bowl

I designed my bowl on Egypt about all the Egyptian symbols and put  jewels for decoration because when I think of Egyptians I think of glamouring designs and things they wore.

Chapter 31: Contemporary Art Worldwide

Chapter 31: Contemporary Art Worldwide

 

Since the 1980s, artists worldwide have used art to explore a range of themes, from individual concerns to pressing political issues. A host of artists, including David Wojnarowicz, Robert Mapplethorpe, and Shahzia Sikander, have used art to examine sexuality and gender, while many African-American artists such as Lorna Simpson and David Hammons focus on racial identity and inequality. Abstract and figural painters and sculptors across the world continue pursue innovations in representational form and novel uses of material. Artists such as Maya Lin, Richard Serra, and Christo and Jeanne-Claude work site-specifically and bridge the gap between architecture and sculpture. Architecture has become a particularly diverse practice in recent decades, as architects pursue postmodernist, Hi-Tech, Deconstructivist and green building approaches. New technology has had a profound impact on art, allowing new forms of visual expression and multimedia spectacle never before possible.

Chapter 30 Modernism and Postmodernism in Europe and America, 1945-1980

Chapter 30: Modernism and Postmodernism in Europe and America, 1945-1980

 

In the decades following World War II, art reflected the upheaval in society, expressing postwar anxiety, the values of the emerging feminist and the civil rights movements, and reflecting on the new consumer society. Some artists chose a more formalist track, pursuing chromatic abstraction in painting and minimalist sculptural form. Architecture developed in two directions—modernists pursued idiosyncratic, expressive forms or more stripped-down, “International Style” designs, while postmodernists combined styles and explicitly employed historical ornaments. Beginning in the 1960s, artists pursued alternative approaches including performance and conceptualism, and by the 1970s, the new media of video, sound, and computer-generated art were widely practiced and exhibited.

 

Chapter 29: Modernism in Europe and America, 1900 to 1945

Chapter 29: Modernism in Europe and America, 1900 to 1945

 

Preview: The period in art between 1900 and 1945 in Europe and America was intense and marked by international exchange due to the onset of two world wars. In the early part of the century, Pablo Picasso’s Cubism and German Expressionism represented radical new ways of representing reality. Futurists in Italy captured the dynamism and movement of modern life, while Dadaists across Europe and in the U.S. traded in obscure, nonsensical protests against rational society. In 1913, the Armory Show in New York introduced American audiences to European modern art. The Harlem Renaissance saw African American artists embrace modernist expressions, and under the direction of Alfred Stieglitz, American photography defines a distinctive style. In Europe, the Neue Sachlichkeit movement developed in Germany as a reaction to World War I. The 1920s saw the emergence of Surrealism, Russian Constructivism, and the Bauhaus in Germany, which promoted the idea of “total architecture” and the integration of arts. Between 1930 and 1945, Mexican artists Orozco and Rivera painted murals thematizing Mexico’s history, while Frida Kahlo explored autobiographical, psychological themes. In the mid-20^th century, Frank Lloyd Wright was recognized as the leading architect in the U.S., and his expressive, daring structures continue to inspire architects.

 

 

Chapter 28: Impressionism, Post-Impressionism, Symbolism: Europe and America, 1870 to 1900

Chapter 28 mpressionism, Post-Impressionism, Symbolism: Europe and America, 1870 to 1900

 

Fom 1870 to 1900 saw intense artistic experimentation and development, particularly in France. The Impressionists, a group that included Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Berthe Morisot and others, held their first group exhibition in 1874, showing many works that had been painted en plein air (outdoors) and that captured scenes of contemporary urban life. “Post-Impressionism” is term extended to artists such as Georges Seurat, Vincent van Gogh, Paul Gauguin, and Paul Cézenne, who developed beyond the sketch-like quality of Impressionism and explored the structure of painted form or the emotions wrought by color. French Symbolists, including Gustave Moreau, Odilon Redon, and Henri Rousseau, painted subjective scenes that transcended the everyday world and were often dreamlike and sensuous. The leading sculptor of this era was Auguste Rodin, who explored the representation of movement and energy in bronze and marble. Rodin often sculpted fragmented forms that had immense influence on later modern sculptors. Architectural developments in this period varied: the Arts and Crafts and Art Nouveau movements opposed modern mass production and embraced natural forms; the Eiffel Tower’s exposed iron skeleton represented the possibilities for new architectural expressions; and in the U.S., Louis Sullivan integrated organic form and the metal frame to become a pioneer in skyscraper design.

 

Chapter 27 Romanticism, Realism, Photography: Europe and America, 1800 to 1870

Chapter 27 Romanticism, Realism, Photography: Europe and America, 1800 to 1870

 

Napoleon Bonaparte was an important patron of the arts in France at the turn of the 19^th century, appointing the Neoclassicist Jacques-Louis David as First Painter of the Empire. But early in the 19^th century, Neoclassicism gave way to Romanticism as the dominant art form in Europe. Delacroix and Gericault became the leading Romantic painters in France, favoring exotic subject matter and employing bold, loose brushstrokes and vibrant color. In England, Germany, and America, Romantic landscape painters took on transcendental themes. Photography was invented simultaneously in France and England, and by the middle of the century it was a burgeoning new artistic and documentary medium. The American Civil War was one of the first major conflicts to be thoroughly documented in photographs. In the mid-19^th century, Realism emerged as the dominant painting style, with artists such as Gustave Courbet in France and Thomas Eakins rejecting revivalist styles and historical themes in favor of depicting the people and events of their own times. Edouard Manet’s shocking contemporary subject matter and no illusionistic painting style established the terms of early Modern art.

Chapter 22 Renaissance and Mannerism in Cinquecento Italy

Chapter 22 Renaissance and Mannerism in Cinquecento Italy

 

Italian art in the 16^th century built upon the foundation of the Early Renaissance, particularly the interest in classical culture, perspective, and human anatomy, but it developed in dramatic, distinctive ways. The century is divided into High (1495-1520) and Late (1520-1600) Renaissance periods. Throughout the century, regional stylistic differences emerged, with Florentine and Roman artists emphasizing careful design and preliminary drawing (disegno) and Venetian artists focusing on paint application and color (colorito). Leonardo da Vinci, Raphael, and Michelangelo were the leading figures during the Renaissance, an era in which artists were celebrated and recognized for their individual achievements. Titian was the great master of Venetian painting, and Andrea Palladio and Bramante were the leading architects of the Renaissance. During this period, the Catholic Church remained the central patron of the arts, and Pope Julius II was responsible for commissioning some of the greatest Renaissance artworks, including paintings by Michelangelo and Raphael in the Vatican, and Bramante’s and Michelangelo’s architectural designs for St. Peter’s. Artists were also recruited by the Church to contribute their talents toward its Counter-Reformation efforts. Mannerism developed after 1520 as a reaction to the art of the High Renaissance. Mannerist artists such as Parmigianino painted scenes marked by extreme refinement, artifice and exaggeration of form, while the Mannerist architect Giulio Romano even parodied Bramante’s classical style.