History of Western Art

The historians describe the history of Western art in successive periods and movements, including classical, medieval, Byzantine, romantic, Renaissance, Baroque, Rococo, Neoclassicism. Art in the Western World has developed and adjusted to fit the values and principles of the society from cave drawings to high-definition films. The presence of art in everyday life has always been constant, despite its changing techniques and topics. There's plenty to know about your favorite art history period.

Stitched together over five years of journaling, Obiter Dicta is a lyrical compendium representing the transcription of twelve notebooks, since painstakingly reimagined for publication. This unschooled exercise in aesthetic thought, interlaced with quotations from hundreds of diverse authors, interrogates a wide array of subject matter through notes, commentary, observations, and musings. Obiter Dicta is an experiment in intellectual dot-connecting that challenges much long-standing wisdom about everything from illuminated manuscripts to photography to the evolution of European music. A Zibaldone for the 21st century.

Sanatta gölgelere ışığın etkisini artırmak ve objelerin biçimlerini belirginleştirmek amacıyla sık sık başvurulmuştur. Gölgeler, betimlenen sahnenin atmosferini belirlemeye yardımcı olabilir ve resmedilen alanın dışında kalan öğelerin varlığını açığa çıkarmak amacıyla kullanılabilir. Dünyanın en önemli sanat tarihçilerinden E.H. Gombrich, ilk kez National Gallery’de düzenlenen bir sergi vesilesiyle yayınlanan bu ilginç kitapta Batı sanatında  gölgelerin izini sürüyor. Gombrich mitler, efsaneler ve felsefede gölge kavramının muğlak doğasına değinirken; ışığın kaynağının yeri, aydınlanan objenin biçimi, gölgenin düştüğü yüzey ve izleyicinin pozisyonu gibi belirleyici unsurları da ayrıntılı biçimde inceliyor. Gombrich Rönesans’tan 17. yüzyıla kadar sanatçıların gölgeleri nasıl betimlediğini –ya da bazen nasıl görmezden geldiğini– Caravaggio, Rembrandt, da Vinci gibi ressamların eserleriyle örneklendiriyor. Ayrıca takip eden yıllarda Romantik, İzlenimci ve Gerçeküstücü sanatçıların resimlerinde gölgeleri gerçekçilik  ya da dramatiklik illüzyonu yaratmak amacıyla  nasıl kullandıklarını anlatıyor.
Gölgeler, renkli illüstrasyonlar içeren özel bir baskıyla sanatseverlerle buluşuyor.

Bu çalışmanın amacı, Hofmann ve Belling öğretisinin Türk Plastik sanatlarına yansımalarını irdelemek ve söz konusu öğretinin bu öğretiden geçen Türk sanatçıları üzerindeki etkisini tespit etmektir. Bunun için, konuyla ilgili kitaplara, sergi kataloglarına, makalelere, yayımlanmış bildirilere, internet kaynaklarına ve söyleşi türünde kaynaklara başvurulmuş; elde edilen bilgiler derlenerek analiz-sentez yöntemi ile kaleme alınmıştır. Ulaşılan bilgiler ışığında temel bulgu, Hofmann ve Belling öğretisinin Türk plastik sanatlarının modernleşmesi sürecinde, modernleşme itkisini sağlaması bakımından büyük önem taşıdığı olmuştur. Çalışmanın girişinde Türkiye ile Almanya ve Alman sanatçılarla ilişkilerden, sonraki bölümde ise Cumhuriyet öncesi sanat ortamından kısaca bahsedilmiştir. Çalışmanın ana ekseninde, Cumhuriyet'in ilk yıllarından başlayarak, Münih'te Hofmann'ın okuluna devam eden Türk ressamlarının, yurda döndüklerinde modern resim dilini, Türk resmine hangi koşullar altında ve nasıl getirdikleri tartışılmıştır. Heykel alanında ise Akademi Reformu ile Güzel Sanatlar Akademisi Heykel Şubesi başına getirilen Belling’in Akademi öğrencileri üzerindeki etkisi, Türk heykelinde modernleşme ve sonrasında da soyutlamanın yolunu açan öğretisi, örnekler üzerinden aktarılmıştır.

This paper points out that the original woodblock print of Utagawa Toyoharu's (1735-1814) "Dutch Franciscan Monastery" is based on William Austin's (1721–1820)"Ruins of Ancient Rome" (1756). It is possible that Austin's works was created by combining paintings by the Italian artist Giovanni Paolo Panini (1691-1765) and sold as his works.
　本稿は、歌川豊春(1735-1814)の木版画《阿蘭陀(オランダ)フランスカノ伽藍之図(がらんのず)》の原画は、ウィリアム・オースティン(1721–1820)の《古代ローマの遺跡》(Ruins of Ancient Rome, 1756)の銅版画であることを指摘する。このオースティンの作品はイタリアの画家パニーニ(Giovanni Paolo Panini 1691–1765)の絵画作品を組み合わせて制作し、彼の作品として販売した可能性がある。

This article examines the artwork of Maynard Dixon, W. Herbert Dunton, E. Martin Hennings, Frank Tenney Johnson, Frederic Remington, Walter Ufer, and others. In their search for authenticity and poetry, or for critical acclaim and financial security, Western artists of the early twentieth century contributed to the reorientation and redefinition of decades-old mythologies. They were subjective truth-tellers. Their renderings were reflective of their own angsts and concerns, and the counter themes that they identified—loneliness, loss, elderliness, toil, hardship, and others—represented their own regrets and resentments as much as the subjects they chose to interpret. Americans beguiled themselves with their cherished stories of heroism and triumph, but in "the Weary West," these artists reveal an alternative view to the romance. It taught those who would stop and ponder their art to perceive a West that was more complex and diverse and interesting than the trite images of the past.

سابقۀ نوشتن دربارۀ هنر در مغرب‌زمین به روزگار یونان و روم باستان می‌رسد؛ اما نوشتن تاریخ هنر در دورۀ رنسانس و در سدۀ شانزدهم با کتاب جورجو وازاری آغاز شد. در این تحقیق، مقدماتی که موجب پیدایی تاریخ هنر در غرب شد، پی گرفته و نخستین تلاش‌ها برای تاریخ‌نویسی هنر دنبال شده است. از پرسش‌های مورد نظر تحقیق آن است که نخستین تاریخ‌نامه‌های هنر در ایران‌زمین و مغرب‌زمین از چه زمانی آغاز شده و بر چه محوری سامان یافته‌اند. بررسی‌های این تحقیق بنیادی، که به روش تاریخی انجام شده است، نشان دهندۀ آن است که نخستین تاریخ هنر در مغرب‌زمین بر محور هنرمندان سامان یافته و تا سده‌ها الگوی تاریخ‌نویسی هنر بوده است. تأمل در اینکه با محورگرفتن هنرمند در تاریخ‌نویسی هنر چه چیزهایی از تاریخ هنر برجسته‌تر می‌شود و چه چیزهایی مغفولی می‌ماند، اندیشمندان را به پیشنهاد محورهایی دیگر برای تاریخ هنر کشید؛ از جمله اندیشۀ تاریخ هنر بدون نام کسان، ازسوی دیگر، در ایران نیز نوعی از نوشته که می‌شود آن را به تسامح تاریخ هنر خواند، در سدۀ دهم هجری، مقارن با سدۀ شانزدهم میلادی، پیدا شد. تاریخ هنر در ایران در قالب رساله‌های آداب و تذکره‌ها و دیباچه‌های مرقعات خط و نقاشی بود. بسیاری از این نوشته‌ها نیز بر محور نام کسان، به ویژه هنرمندان، سامان یافت. تاروپود تاریخ هنر در این رساله‌ها شبکه‌ای است حاصل از محور طولی سلسلۀ استادان و شاگردان و محور عرضی طبقات شاگردان که با داوری نقد هنر، ذکر آداب هنرورزی و توجهی اندک به سیاق اجتماعی و هنری، همراه است. هرچند میان نخستین تاریخ نامه‌های هنر در مغرب‌زمین و ایران‌زمین شباهت‌هایی دیده می‌شود و مهم‌ترینشان سامان یافتن آنها بر محور هنرمندان است؛ این نوشته‌ها تفاوت‌های فاحشی باهم دارند که از نگاه آنها به جهان و انسان و هنر و گذشته و حال برمی‌آید.

Here we will look at how white western artists used Black Africa to represent a variety of traits assigned to Black Africans.  Dutch artists in the late 1400s begin to incorporate portraits of Black Africans into their artwork.  In the early 1900s, white western artists gravitated to Black African objects as a means to inspire and invigorate white western art.  So we see that Black Africa influence on white western art did not produce uniform discourses on race or the inferiority of Black Africans.

This book research on German Neo-expressionsim in 1960s and 1970s, and its influence on Chinese Contemporary art in 1980s. Beside analyze how and why Neo-expressionsim emerged in Germany since late 1960s, it also includes its international relative art movements, such as Trans-avant art in Italy and Neo-expression in America. In the end the book emphasize the strong encouragment and lasting influence that Neo-expressionsim art in the west to Chinese contemporary artists. They created Chinese contemorary painting out from academic painting since 1980s.

This article (in Turkish) is a study based on Archive Documents. Colleciton of clocks and watches is a noteworthy artefacts of the Topkapı Palace treasuries  which are diplayed in a separate gallery. The article is emphasising on the diplomatic gifts as well as commercially obtained clocks and watches to the palace.

The Art of painting relies on the employment of the painting's vocabularies in an idiomatic meaningful format under the framework of the dialogue form. Such methodology occurs at times and in a new style to create new systems and formats at other times (Form Structure). The dilemma lies between these two frameworks where there are reality and mind, sensory and mental or visible and invisible, that is, between what is perceived by the eye of idiomatic semantics forms and what is realized in accompanied suggestive or figurative meanings.

The interpretation of the invisible in the vision of Oriental Art is different from the vision of the western art because the spirit of the culture is manifested in the first to incorporate the individual in the group. As in the universe, it removes intervals so that the individual may seem similar to his surroundings in order to reach the infinite and unlimited aspect. This vision is based on a type of intuitive knowledge in the form of detection or discovery, which is based on the dualism of the visible and the invisible. Therefore, the receiving process is unlimited to the aesthetic pleasure that focuses on the form alone, and it is an existential process that is based on the dialogue between the receiver and the artwork. Islamic Sufi aesthetic thought tries to find the sensory effects in the universe. It is not concerned with the mental abstract perceptions of geometric shapes associated with the western logic." Islamic abstraction would not seek to meet the formal requirements such as a mathematical current of Mondrian or freeing the spirit of the form extracted from the content, internal necessity of the structure or the internal empathy for the colors and meanings. It does not intend to reach ideal purity in the form so as to realize the artistic feeling in Malevich. It tries to find natural laws, including geometric shapes ,and then its loads them with facts and meanings towards the absolute. It results in a new standard vision that will create another independent reality which does not end with just watching the painting so as to combine the idea with the artistic vision to denote the meaning"(Abu Elmaggd, 2011).