Art100 Su12Module03.2
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The document discusses the origins and purposes of art and ritual in prehistoric times. It explores cave paintings from the Lascaux caves in France dating back around 15,000 BCE and historians' speculation that these paintings may have been used in rituals preparing for hunts rather than just as "art." The document also contrasts the concepts of ritual versus spectacle and how participation differs between the two.
Art100 Su12Module03.2
- 2. Lascaux cave, Dordogne region of France, Hall of the Bulls, c. 15,000 BCE
- 3. “Magician” or “Birdman” from Lascaux
- 4. Historians speculate: this is not “art” but may be a magical technique used as part of rituals preparing for the hunt.
- 5. As spectacle: As ritual: You are consigned to watch someone else You are an active doing something; your participant role is limited to viewing. Everyday rules don’t apply in this deviation from ordinary space/time Sacred beverages are consumed
- 7. As ritual: You are an active participant As spectacle: Everyday rules don’t You are apply in sacred consigned to space/time watch someone Sacred beverages are else doing consumed something Your role that of viewer, even, element of spectacle.
- 9. RITUAL SPECTACLE Everyone participates; Extremely few participants, there is no such thing as a untold millions of spectator. spectators.
- 10. An ordered representation of a chaotic and often hostile universe, expressing our wish for a desired outcome.
- 11. An ordered representation of a chaotic and often hostile universe, expressing our wish for a desired outcome.
- 12. So if art finds one set of origins in ritual, it finds another in the human tendency to decorate anything and everything that we make.
- 13. Jade comb, China, c. 400 BCE Ivory comb, Etruscan (ancient Italian) 6-5th century BCE
- 14. Ancient Persia, , c. 750-650 BCE Ancient Korea, Bronze Age sword hilt, sword hilt, silver, (iron Between 900-300 BCE blade)
- 16. HTTP://WWW.YOUTUBE.COM/WA THE ORIGINAL BLING TCH?V=TSYLLWZ5JP8
- 17. Objects like these were created to impress and intimidate.
- 18. “I’m the king, and you are not.” “This are the symbols of my worldly power and wealth.”
- 19. Napoleon in his coronation garb, painted on porcelain after a lost painting by Gérard. Rihanna, Nov. 2009
- 20. Reliquary of Ste.-Foy at Conques
- 21. Real gold Painted gold
- 22. Simone Martini (and LippoMemmi), The Fra Angelico, TheAnnunciation, fresco Annunciation, tempera on panel with in cell 3, Convent of San Marco, gold leaf, c. 1333, 10’1” x 8’8” Florence , c. 1440
- 23. Simone Martini (and LippoMemmi), The Annunciation, tempera on panel with gold leaf, c. 1333, 10’1” x 8’8”
- 24. Fra Angelico, TheAnnunciation, fres in cell 3, Convent of San Marco, Florence , c. 1440
- 25. Jan van Eyck, Ghent Altarpiece (open), completed 1432, Cathedral of St. Bavo, Ghent, Belgium
- 26. Jan van Eyck, Mary Crowned, detail of the Ghent Altarpiece, completed 1432, Cathedral of St. Bavo, Ghent, Belgium
- 27. Jan van Eyck, Mary Crowned, completed 1432 Jan Vermeer, Girl with a Pearl Earring, c. 1665-6, oil on canvas, 17 1/2 x 15 3/8 inches
- 28. The monumental Papal Basilica (St. Peter’s) is at the heart of this miniature state.
- 29. Michelangelo, Pietà, 1499, marble, 68.5 in × 76.8 inches St. Peter's Basilica, Vatican, Rome
- 30. Michelangelo, Pietà, 1499, marble, detail of the Virgin’s face St. Peter's Basilica, Vatican, Rome
- 31. Diego Velázquez, Portrait of Juan de Pareja, c. 1650 Oil on canvas
- 32. Diego Velázquez, Surrender of Breda, 1634-5, oil on canvas, Museodel Prado, Madrid
- 33. Diego Velazquez, Los Borrachos (The Drinkers), 1629
- 34. Diego Velázquez, Christ in the House of Mary and Martha, 1618
- 35. Diego Velázquez, Las Meninas, 1619
- 36. Annibale Carracci, Assumption of the Virgin, 1600-1601 Oil on canvas, Santa Maria del Popolo, Rome (in Cerasi Chapel)
- 37. Caravaggio, The Calling of Saint Matthew, 1599-1600, oil on canvas, San Luigi deiFrancesi, Rome (Contarelli Chapel)
- 40. Goya, Charles IV of Spain and His Family, 1800
- 41. Goya, Countess of Chinchòn, 1800
- 42. King Ferdinand VII with a Royal Mantle, 1814, Prado
- 43. Thomas Couture, Romans of the Decadence, 1847
- 44. Manet, A Bar at the Folies-Bergère, 1882
- 45. François Boucher, Diana Leaving Her Bath, 1742 Louvre, 22x28"
- 46. Jean-Baptiste Greuze, The Punished Son, 1777 Louvre, 51x64"
- 47. Jacques Louis David, Death of Socrates, 1787 Met, 51x77"
- 51. Nocturne in Black and Gold: The Falling Rocket, 1875 James Abbott MacNeill Whistler (American, living in London) painted this picture in 1875. Art critic John Ruskin complained, “I have seen, and heard, much of cockney impudence before now; but never expected a coxcomb to ask two hundred guineas for flinging a pot of paint in the public’s face.” Ruskin printed this insult in his pamphlet series, ForsClavigera, in 1877.
- 53. J.M.W. Turner, The Burning of the Houses of Parliament, 1835