com). There was nothing obscene about the beauty of David, not even in the eyes of Catholic Italy, and long after the wars of the Italian city-states have ended, the glory of David lingers in the mind.
Chapter 3: Islamic detour
It must not be forgotten that many great, artistically-inclined civilizations existed beyond that of the borders of West: for example, remember the Islamic world during the Middle Ages. But upon gazing at the works of this great civilization it is essential to remember that artistic conventions differ greatly than from their Western counterparts -- pictorial and figurative representations of individuals were not prized as they were in Italy, for example, because of the Islamic injunction against perfect reproductions. But this does not mean that human likenesses were not represented at all, as can be seen in a typical depiction of a tympanum, from a fifteenth-century tombstone of the town of Kubachi, commandeered by an unknown source, to commemorate the dead. There, a sculpted rider wears a cloud collar that covers the rider's chest, as is traditional in images of Central Asian nomadic archers. It is said to be symbolic of the Mongol roots of the Golden Horde (1227 -- 1502) (Tympanum, 2009, Met). The representation is deliberately stereotypical, and designed not to represent a literal or specific human being -- so long as human representations were not an attempt to encapsulate real life, they were allowed. Thus, to look at Islamic art and say 'this is not realistic' is to impose Western individualism and aesthetic standards upon another civilization, but to generalize and say that human forms were never represented at all is also inaccurate.
"The strongest statements on the subject of figural depiction are made in the Hadith (Traditions of the Prophet), where painters are challenged to 'breathe life' into their creations and threatened with punishment on the Day of Judgment. The Qur'an is less specific but condemns idolatry and uses the Arabic term musawwir ('maker of forms,' or artist) as an epithet for God. Partially...
This work of art depicts a struggle between two ancestors, the Bungalung man and a Tingari man, the latter of whom was trespassing on sacred land (No author). The copious quantity of dots, particularly the white ones, evinces the full force of the elements invoked by the Bungalung Man to beat his opponent into submission. The power of the Bungalung man is evinced by the fact that he leaves
Art Impressionism in art developed in the 19th century. Impressionist paintings were characterized by visible brush strokes, and subject was drawn from ordinary life and outdoors, rather than being confined to still life, or portraits and landscapes drawn in studios. Emphasis was laid on the effect of light changing its qualities as well as movement. These characteristics of impression can be well observed in the works of art by Gustave Caillebotte,
The medium with which the artist works is also unique in that they are outfits that can and should be worn. The sound suits are designed to be wearable, imparting a grounded character to the exhibit. Instead of taking the suits too seriously, the viewer can imagine them as costumes in which the serious self is left behind in favor of the inner child. Like a mascot at a
(Mulcahy and Wyszomirski 139) However, this is not art for art's sake; it is art for our children's sake. If one has to put on the back burner that Picasso was a cubist for the sake of challenging a child to look at a painting and just experience it, than so be it. The very act of simply experiencing the art of an artist can have profound effects on the
Art Monet Claude Monet and Water Lilies This research paper aims to discuss one of the better known impressionist artists, Claude Monet and his rendition series, one of the 'Water Lilies' on display in the Toledo Museum of Art. This research piece combines information about the life and works of the artist as well as the famous series of 48 landscapes started shortly before the armistice of World War I. Obviously, when one
Rather, the vines and clusters f grapes on the tree give the piece its true softness and roundness. This is mirrored by the effect of the figures' hair. Both faun and children all possess curling flowing ringlets that seem to hang as loosely as do the grapes, emphasizing a sense of liberty in the work. The sense of softness and liberty bestowed upon the piece by the line and texture
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