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Thinking About Art
A Thematic Guide to Art History
Penny Huntsman
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eBook - ePub
Thinking About Art
A Thematic Guide to Art History
Penny Huntsman
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About This Book
Thinking about Art explores some of the greatest works of art and architecture in the world through the prism of themes, instead of chronology, to offer intriguing juxtapositions of art and history.
The book ranges across time and topics, from the Parthenon to the present day and from patronage to ethnicity, to reveal art history in new and varied lights.
With over 200 colour illustrations and a wealth of formal and contextual analysis, Thinking about Art is a companion guide for art lovers, students and the general reader, and is also the first A-level Art History textbook, written by a skilled and experienced teacher of art history, Penny Huntsman.
The book is accompanied by a companion website at www.wiley.com/go/thinkingaboutart.
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Chapter 1
Genres and Subjects
Learning Outcomes
By the end of this chapter you will be able to:
ā define genres in art, give examples and be able to consider how and why they have been represented in particular ways
ā define what is meant by subjects in art history (as distinct from genres) and offer a range of examples
ā describe the many different ways artists have interpreted subjects in art history, drawing on connections between their visual appearance and the contextual aspects of their production
ā compare and contrast different works of art in different mediums but within the same genre or subject.
Chapter Map
This chapter map provides a visual overview of Chapter 1 ā āGenres and Subjectsā ā together with its key works.
History Genre
Ancient Classical history and mythology
ā Jacques-Louis David (1748ā1825), Oath of the Horatii, 1784
āTitian (1488/90ā1576), Bacchus and Ariadne, 1520ā1523
Biblical scenes: narrative in fresco
ā Masaccio (1401ā1428/29), The Tribute Money, c.1425ā1428
Modern history: heroes and villains
ā Francisco de Goya (1746ā1828), The Third of May 1808, 1814
ā Pablo Picasso (1881ā1973), Guernica, 1937
Bridging two genres:āhistoryā and āportraitureā
ā Jacques-Louis David, The Death of Marat, 1793
Portraiture
Single portraiture: the portrait as power
ā Jacques-Louis David, The Emperor Napoleon in his Study, 1812
ā George Gower (c.1540ā1596), The Armada Portrait, 1588
ā Pablo Picasso, Portrait of Daniel-Henry Kahnweiler, 1910
Group portraiture: relationships between sitters
ā Jan van Eyck (c.1390ā1441), The Arnolfini Portrait, 1434
ā David Hockney (born 1937), Mr and Mrs Clark and Percy, 1970
ā Edgar Degas (1834ā1917), The Bellelli Family, 1858ā1867
Self-portraiture: suffering and confrontation
ā Frida Kahlo (1907ā1954), The Broken Column, 1944
ā Caravaggio (1571ā1610), David with the Head of Goliath, 1609ā1610
Genre
āGenreā scenes: everyday life
ā Johannes Vermeer (1632ā1675), The Milkmaid, 1657ā1658
ā William Maw Egley (1826ā1916), Omnibus Life in London, 1859
ā Edgar Degas, LāAbsinthe, 1875ā1876
ā Edward Hopper (1882ā1967), Nighthawks, 1942
Landscape
Owning and working the land
ā Thomas Gainsborough (1727ā1788), Mr and Mrs Andrews, c.1750
ā Meindert Hobbema (1638ā1709), The Avenue at Middelharnis, 1689
Landscape as emotional expression
ā Vincent van Gogh (1853ā1890), Wheatfield with Crows, 1890
ā Georgia OāKeeffe (1887ā1986), Deerās Skull with Pedernal, 1936
Still Life
Memento mori
ā Harmen Steenwyck (1612ā1656), An Allegory of the Vanities of Human Life, c.1640
ā Frida Kahlo (1907ā1954), Viva la Vida, 1954
ā Audrey Flack (born 1931), Marilyn (Vanitas), 1977
Subjects
Religious subjects
Madonnas
ā Elisabeth Frink (1930ā1993), Walking Madonna, 1981
ā Michelangelo (1475ā1564), PietĆ , 1498ā1499
Representations of Christ
ā Caravaggio, The Entombment of Christ, 1602ā1604
The nude
Religious and mythological nudes
ā Myron, The Discus-Thrower (Discobolus), c.450 bce
āTitian, Resting Venus (Venus of Urbino), c.1538
Modern nudes
ā Ćdouard Manet (1832ā1883), Olympia, 1863
ā Jenny Saville (born 1970), Branded, 1992
Motherhood: mother and child
ā Paula Modersohn-Becker (1876ā1907), Kneeling Mother Nursing a Baby, 1907
ā Barbara Hepworth (1905ā1975), Mother and Child, 1934
ā KƤthe Kollwitz (1867ā1945), Woman with Dead Child, 1903
Animals
War: heroisation and protest
ā Jacques-Louis David, Oath of the Horatii, 1784
ā Francisco de Goya, The Third of May 1808, 1814
ā Jenny Holzer (born 1950), Lustmord, 1993
ā Pablo Picasso, Guernica, 1937
Introduction
This chapter introduces you to two important categories in the description of art-historical works that comprise the theme: subjects and genres. It explains the distinctions between and sub-categories within the terms, and the innumerable ways in which artists have interpreted them. This chapter covers the most ground in the book, and many of its examples can be used as a basis for study under the other five chapter headings.
Genre means ātypeā or ācategoryā. Examples include āstill lifeā, ālandscapeā, āportraitā and āhistory paintingā. However, genre can also refer to a specific type of painting known as āgenreā, which depicts scenes from everyday life. There was a system for ranking art in terms of its cultural value known as the āhierarchy of genresā. The most well-known formulation was provided in 1667 by AndrĆ© FĆ©libien (1619ā1695), a historiographer, architect and honorary consultant to the French Royal Academy of Painting and Sculpture. The history of art tended to follow this ranking until the twentieth century, and knowledge of the hierarchy of genres is very important for the understanding of Western painting, as it provides insight into the scale and treatment of many works.
The subject of a work might be something like āfruitā, āmountainsā, āfamily groupā or āwarā and this might help to define the workās genre. Some works fall into two or more genres, or between subjects and genres. This chapter will provide you with the knowledge and understanding to make these judgements, and the multiple placements of works will be made clear within the text.
In addition, this chapter will enable you to compare and contrast works of art of a common genre, noting points of similarity and difference in relation to both formal and interpretational aspects of the works chosen. Formal aspects might include: composition, scale, use of colour and tone, depiction of light and space, technique and materials and degrees of finish and detail. Interpretational aspects might include: aesthetics (the branch of philosophy which relates to beauty and taste), ideology (a particular set of ideas or values related to certain social groups) or ico...