This document provides an overview of developments in Northern European art from 1400-1500. It notes that Northern Europe had stronger connections to pagan traditions compared to Southern Europe. Artists paid great attention to realistic details. The oil painting technique was invented, allowing for luminous colors. Printmaking also flourished. Early capitalism emerged in places like Flanders. Significant artists mentioned include Jan van Eyck, Robert Campin, and Hieronymus Bosch. Key works summarized are van Eyck's Ghent Altarpiece and Arnolfini Portrait for their intricate symbolism, and Bosch's enigmatic Garden of Earthly Delights triptych.
The document provides an overview of the transition from the Medieval period to the Renaissance in Europe. It describes how the fall of Rome led to the Dark Ages, characterized by feudal systems and a static worldview focused on spiritual realities. The Black Death in 1348 killed 30-60% of Europe's population, weakening social institutions. Meanwhile, the fall of Constantinople brought Greek texts to Italy, sparking renewed interest in antiquity. This led to the humanist philosophy of the Renaissance which celebrated human potential and secular civic virtues. Artists like Giotto began creating more naturalistic, three-dimensional works that marked the shift from the otherworldly Medieval style to the emerging Renaissance perspective.
This document provides an overview of developments in Northern European art from 1400-1500. It notes that Northern Europe had stronger connections to pagan traditions compared to Southern Europe. Artists paid great attention to realistic details. The oil painting technique was invented, allowing for luminous colors. Printmaking also flourished. Early capitalism emerged in places like Flanders. Significant artists mentioned include Jan van Eyck, Robert Campin, and Hieronymus Bosch. Key works summarized are van Eyck's Ghent Altarpiece and Arnolfini Portrait for their intricate symbolism, and Bosch's enigmatic Garden of Earthly Delights triptych.
The document provides an overview of the transition from the Medieval period to the Renaissance in Europe. It describes how the fall of Rome led to the Dark Ages, characterized by feudal systems and a static worldview focused on spiritual realities. The Black Death in 1348 killed 30-60% of Europe's population, weakening social institutions. Meanwhile, the fall of Constantinople brought Greek texts to Italy, sparking renewed interest in antiquity. This led to the humanist philosophy of the Renaissance which celebrated human potential and secular civic virtues. Artists like Giotto began creating more naturalistic, three-dimensional works that marked the shift from the otherworldly Medieval style to the emerging Renaissance perspective.
Leonardo da Vinci was one of the most influential artists of the High Renaissance in Italy. He was a true "Renaissance man" with expertise in many fields including art, science, engineering and more. Some of his most famous works include the Mona Lisa, The Last Supper and Madonna of the Rocks. These works reflected his interest in naturalism, complex compositions, and subtle effects of light and shadow. Michelangelo was another towering figure who excelled at sculpture and architecture. His David and works for the tomb of Pope Julius II show his mastery of the human form and ability to imbue stone with dramatic movement and emotion. Raphael was a highly skilled painter known for his harmonious
This document provides an overview of art in Europe during the Middle Ages and Renaissance periods. It discusses how art in the Middle Ages focused more on spiritual subjects, while Renaissance art emphasized humanism and a return to naturalism inspired by ancient Greek and Roman art. A key development was the loss of Constantinople in 1453, which brought Greek scholars and knowledge of antiquity to Italy and sparked new interest there. Artists like Masaccio and Donatello developed techniques like linear perspective and freestanding nudes that advanced realism in painting and sculpture. Major Italian city-states like Florence also saw growth in wealth and civic pride during this time, as expressed through large architectural projects and commissions.
This study guide provides an overview of important artists and works from the High Renaissance and Mannerism periods in Italy. It mentions Leonardo da Vinci's Madonna of the Rocks, Raphael's School of Athens, Michelangelo's David and works in the Sistine Chapel. Key artists from Venice like Bellini, Titian, Giorgione and Tintoretto are referenced along with their paintings. Central Italian masters such as Pontormo, Parmigianino, Bronzino, and works depicting religious and mythological scenes are briefly outlined.
This document provides information about works by prominent Renaissance artists for a study guide test, including Leonardo da Vinci's Madonna of the Rocks and Last Supper, Michelangelo's David and Sistine Chapel ceiling paintings, and works by Raphael, Titian, and others. It also gives biographical details on Leonardo, Michelangelo, and Raphael, describing their personalities, styles of work, and key commissions.
This document provides an overview of Italian and Northern European art from 1200-1500 CE, including important artists, works, styles, and techniques. It summarizes the transition from the Italo-Byzantine style to the Early Renaissance in Italy led by artists like Giotto, Donatello, Botticelli, and others who incorporated more naturalism and classical influences. Northern European artists like van Eyck are also discussed for their innovations with oil painting techniques that allowed for luminous colors. The document outlines the key movements and developments that defined the art of this period.
1) A new secular hunger for rediscovering classical texts developed in the 14th century, stimulating widespread study and spread of these works.
2) Many lost classical texts were reintroduced to Europe during the Renaissance from Constantinople and Muslim states, aided by new libraries and the creation of teaching positions in Greek and other classical languages.
3) The printing press allowed widespread dissemination of these rediscovered texts, fueling further Renaissance development and allowing for improved textual analysis.
The document lists 26 artworks created between the 13th and 15th centuries by important Italian and Northern European artists such as Cimabue, Giotto, Ambrogio Lorenzetti, Jan van Eyck, Robert Campin, Lorenzo Ghiberti, Donatello, Sandro Botticelli, Fra Filippo Lippi, Perugino, Andrea Mantegna, and Luca Signorelli. The artworks include paintings, sculptures and altarpieces depicting religious subjects like the Madonna and Child, saints, and scenes from the Bible as well as portraits and secular subjects.
Neoplatonism was a philosophical system that synthesized Platonic, Aristotelian, and Stoic ideas. It experienced a revival during the Renaissance and emphasized that spiritual things were real while material things were not. The goal was to free the soul from the body through knowledge and contemplation. Neoplatonism was embraced by the powerful Medici family in Florence and viewed all sources of inspiration, whether classical mythology or biblical, as means to unite with the divine. Artists like Botticelli produced works allegorizing the relationship between physical and spiritual beauty. Savonarola denounced humanism and Neoplatonism as heretical in 1490s Florence and forced the bonfire of secular art and literature
The document provides an overview of the High Renaissance period in Italy from 1495-1520. It discusses key developments including the rising status of artists, who became international celebrities socializing with royalty. Leonardo da Vinci is highlighted as a quintessential Renaissance man with wide-ranging interests from science to art. The document analyzes several of his most famous works including the Last Supper and Mona Lisa, noting his mastery of techniques like sfumato. Raphael is also discussed for works like School of Athens, combining elements of Michelangelo, Leonardo, and his own teacher Perugino.
The document discusses a class exercise analyzing Michelangelo's sculptures of "bound slaves" for Pope Julius II's tomb. Students are asked to provide two possible explanations for why Michelangelo included such unusual and emotionally intense figures - one explanation for what the poses represent allegorically, and one for what they represent for Michelangelo as an artist.
1) Masaccio was an early 15th century Italian painter who took Giotto's innovations in space and light further in works like the Brancacci Chapel frescoes.
2) In his fresco The Tribute Money, Masaccio introduced techniques like linear perspective, atmospheric perspective, and chiaroscuro to depict realistic three-dimensional space.
3) His fresco Holy Trinity in Santa Maria Novella was one of the first paintings to use mathematical linear perspective to depict space and features ascending figures to represent the journey from death to resurrection.
This document provides information on art and architecture in Siena and Florence between the medieval and Renaissance periods. It discusses Ambrogio Lorenzetti's 1338-1339 frescoes depicting the effects of good government in the Palazzo Pubblico in Siena. It also describes Duccio di Buoninsegma's 1308-1311 Maestà altarpiece in the Siena Cathedral, including its central panel and life of Jesus scenes on the back. Brief sections cover condottieri warriors and Francesco Traini's fresco of the Triumph of Death. The document concludes with images of Florence Cathedral between 13th-14th centuries.
The document provides biographical information about Michelangelo and discusses several of his most famous works, including the Pieta, David, Moses, and the ceiling and Last Judgement frescoes of the Sistine Chapel. It describes Michelangelo's personality as brooding and solitary. As one of the premier artists of the High Renaissance, he asserted the artist's authority and drew inspiration from Neoplatonic ideas about releasing divine forms trapped in stone. The Sistine Chapel works were monumental fresco projects that established Michelangelo as the preeminent painter of his time through their complex figures and narratives.
Ambrogio Lorenzetti painted three frescoes in the town hall of Siena to encourage the leaders of the city-state to rule with wisdom, justice, and virtue. The Allegory of Good Government depicts figures representing ideals like justice, concord, and strength that lead to prosperity. The Allegory of Bad Government shows the effects of vices like tyranny, greed, and cruelty, resulting in a decaying city under assault. The document assigns analyzing examples of the good and bad government ideals in US history and identifying the conditions that lead to each.
The document summarizes key developments in Renaissance art in Venice and the emergence of Mannerism. It describes the Venetian school's preference for a softer approach to oil painting compared to Florence, as well as their willingness to depict erotic themes. Major Venetian artists discussed include Giovanni Bellini, Giorgione, Titian, and Veronese. The summary also characterizes Mannerism as a reaction against Renaissance ideals of balance, with elongated figures and unusual colors and compositions. Key Mannerist artists mentioned are Pontormo, Bronzino, and Tintoretto.
The document summarizes the competition held in 1401-1402 for the commission to design the bronze East Doors of the Baptistery of Florence Cathedral. Brunelleschi and Ghiberti submitted entries, with Ghiberti's winning design showing a more advanced use of linear perspective and a greater sense of emotional complexity. Though he lost, Brunelleschi's studies of classical architecture and development of linear perspective led to his later success as a renowned architect, including his dome for Florence Cathedral. Ghiberti went on to complete the doors and later received another commission to design the Gates of Paradise doors for the Baptistery.
Comparative Mythologies: The september 11th terrorist attacksJacques de Beaufort
Comparative mythology seeks to identify shared themes and characteristics across myths from different cultures. Scholars have used comparative approaches to trace cultural developments, propose common origins for myths, and explore psychological theories. However, particularists emphasize the unique qualities of individual myths, while comparativists focus on similarities. Major comparative approaches include structural analysis of plot elements, and exploring psychological and archetypal themes. Some widespread recurring mythic themes identified through comparative study include flood myths, creation myths involving divine sacrifice, dying and resurrected god figures, common structures in hero stories, and myths of an initial chaos overcome by order.
Students are to select a pre-20th century painting with at least 3 people, and reimagine the narrative depicted in the painting set in the present day. Students should recreate the pose, emotions, and story of the characters in the painting using their friends and family as models dressed in current fashion. When presenting the original painting alongside their reimagined version, students must include short passages in their own words explaining the scene and how key elements and meaning have changed from the original to the modern interpretation.
The document discusses an extended pose called the "Extended Child's Pose" which is a variation of the traditional Child's Pose yoga position. This extended version involves stretching the arms forward on the ground with the head resting on or between the hands. Holding this pose for several minutes provides benefits such as lengthening the spine, opening the shoulders and chest, and relaxing the mind.
This document outlines the objectives and content for a design fundamentals class. The class will (1) identify and define the principles and elements of design, including line, shape, color, texture, value, space, and time/motion. It will also cover principles like balance, contrast, emphasis, proportion, unity, and rhythm. Students will (2) analyze examples of these principles and elements in media and artworks, and (3) create compositions demonstrating principles of design using different mediums. Additional objectives include developing conceptualization, professional, and original works, as well as participating in design critiques.
This document outlines the objectives and concepts for Drawing 1. The 14 objectives include learning to draw simple objects from observation with an understanding of foreshortening and spatial relationships. Students will draw a still life demonstrating scale, proportion and compositional balance. They will also learn to use different drawing media like pen, charcoal and the grid method of reproduction. The goals are to develop technical skills to produce finished works meeting professional standards while demonstrating originality and creativity. Students will perform critiques to identify uses of design principles and elements.
This document provides a list of recommended materials for a drawing 2/life drawing class, including pencils, charcoal, pens, paper, and other drawing tools. Students are advised to purchase graphite and charcoal pencils in various grades, as well as charcoal powder and white pencils. For pens, the list includes various sizes of Sharpie pens and micron pens. The recommended paper is Strathmore toned gray paper. Additional recommended supplies include fixative, erasers, blending sticks, sharpeners, sandpaper, a rag, T-square, tape, portfolio case, canned air or broom, triangle, art supply box, and eraser stick.
This document provides a list of materials needed for a drawing class, including pencils, charcoal, pens, paper, and other drawing tools. Graphite and charcoal pencils in various grades are recommended, as well as vine and compressed charcoal. Specific brands and types of drawing paper, fixative, erasers, blending sticks, and other supplies are called out. Purchase locations and additional details are provided.
This document provides a list of essential materials needed for a design fundamentals class, including specific brands and sizes of bristol paper, pens, acrylic paints, paint brushes, a paint palette, tape, and other drawing tools. Key supplies are a Strathmore Bristol Pad, various sizes of Sharpie and Micron pens, a set of Daler-Rowney acrylic paints, glass jars for paint storage, a Scholastic brush set, freezer paper or plastic plates for a paint palette, blue painter's tape, rulers, pencils, erasers, and various other small tools. Additional supplies may be assigned later.
The document lists the 2023 finalists for the Helen M Salzberg Visiting Artist Fellowship as Gabino Abraham Castelán, Diane Arieta, and Dia Munoz. For each finalist, it provides 10 images from their body of work that were considered for the fellowship.
The document discusses a new paint job for a home. It details that the exterior of the house will be repainted a light blue color to freshen up its appearance. All trim, shutters, and doors will also be repainted the same off-white color to match and provide a unified look. The project is scheduled to begin next week and take approximately 10 days to complete once started.
This document provides guidance for designing a book cover, noting that an effective cover should have appropriate emphasis, fonts, and texture used. It also cautions against unsatisfactory emphasis and designs that are "so bad it's good."
This document discusses repetition, variety, and gestalt as principles of visual design. It defines repetition as using elements more than once to structure a viewer's experience, and variety as incorporating visual diversity to avoid monotony and hold interest through alternating scale, color, or other features. Gestalt is described as an aspect of psychology referring to how the mind perceives unity and closure, relating to the overall feeling or sense of completeness evoked by an artifact for viewers.
point, line, shape, mass, volume, texture, value DEBEAUFORTJacques de Beaufort
This document discusses key elements of art and design including point, line, shape, mass, volume, texture, and value. It defines each element and provides examples. Point is the simplest element that can suggest lines or density. Line can be actual, implied, gestural, contour, or variations thereof. Shape can be geometric, organic, figure/ground, positive/negative. Mass refers to physical bulk while volume is the measurable space an object occupies. Texture can be actual, implied, or invented. Value refers to degrees of lightness and darkness, with contrast being the difference in values.
Contrast refers to the use of opposing elements of art to produce an intensified effect. Visual contrast is the degree of visual difference between elements to emphasize certain parts, while conceptual contrast is an implied opposition of ideas to emphasize unexpected differences.
Balance and weight refer to both the actual and visual equilibrium of elements in a work of art. There are different types of visual balance, including symmetrical balance where visual elements are evenly sized, shaped, and placed, as well as asymmetrical balance where equilibrium is almost but not exactly symmetrical. Visual balance can be achieved through techniques like varying the size, color, shape or frequency of elements to create a sense of equilibrium and tension in a composition.
Rhythm is defined as the movement or variation marked by a regular recurrence of related elements, while an irregular rhythm omits or adds unexpected stresses. Pattern refers to a systematic repetition of an element in a work.
This document discusses principles of visual design including unity, gestalt, repetition/variety, chaos, and proximity. Unity refers to a composition holding together visually as a whole. Gestalt psychology investigates how the mind seeks closure and unity. Repetition and variety use repeating or diverse elements to structure a viewer's experience without becoming monotonous.
This document discusses three principles of design: emphasis, which is using arrangement to make some areas the primary focus; subordination, which also uses arrangement to create a focal point; and focal point, which is the area that grabs and holds a viewer's attention.
Forces can be categorized as either line forces or directional forces. Line forces have magnitude and direction but no line of action, while directional forces have magnitude, direction, and a specific line of action where they apply to an object. Common examples of line forces include tension, compression, and friction. Directional forces include gravity, normal, applied, and reactive forces.
Directional force refers to the compositional means artists use to arrange design elements to move a viewer's eye in a intended way through a work of art. Key directional forces include vertical, horizontal, diagonal, circular and triangular lines or shapes that imply visual lines leading the eye to the focal point. Effective works of art often combine multiple directional forces.
This document discusses size, scale, and proportion in art. It defines scale as the comparative size of elements in relation to other elements or objects. Proportion is defined as the relationship between the sizes of parts and the whole. The document discusses classical proportions like the Golden Rectangle and Golden Section, which are ratios used in art. It also discusses Vitruvian Man, in which Leonardo da Vinci illustrated the harmonious proportions of the human body. The document notes that while Vitruvius defined average body proportions, there is variability between individuals.
Light travels in straight lines until it encounters a new medium, like air and glass, where it can either pass through (refraction) or bounce off of (reflection). Reflection occurs when light hits a smooth surface like a mirror, bouncing at the same angle, while refraction happens when light passes from one medium to another of different density, changing direction as it enters the new medium at a different speed. The bending of light that occurs during refraction can be described using Snell's law, which relates the angle of incidence and refraction based on the densities of the materials.
Conseils pour Les Jeunes | Conseils de La Vie| Conseil de La JeunesseOscar Smith
Besoin des conseils pour les Jeunes ? Le document suivant est plein des conseils de la Vie ! C’est vraiment un document conseil de la jeunesse que tout jeune devrait consulter.
Voir version video:
➡https://youtu.be/7ED4uTW0x1I
Sur la chaine:👇
👉https://youtube.com/@kbgestiondeprojets
Aimeriez-vous donc…
-réussir quand on est jeune ?
-avoir de meilleurs conseils pour réussir jeune ?
- qu’on vous offre des conseils de la vie ?
Ce document est une ressource qui met en évidence deux obstacles qui empêchent les jeunes de mener une vie épanouie : l'inaction et le pessimisme.
1) Découvrez comment l'inaction, c'est-à-dire le fait de ne pas agir ou d'agir alors qu'on le devrait ou qu'on est censé le faire, est un obstacle à une vie épanouie ;
> Comment l'inaction affecte-t-elle l'avenir du jeune ? Que devraient plutôt faire les jeunes pour se racheter et récupérer ce qui leur appartient ? A découvrir dans le document ;
2) Le pessimisme, c'est douter de tout ! Les jeunes doutent que la génération plus âgée ne soit jamais orientée vers la bonne volonté. Les jeunes se sentent toujours mal à l'aise face à la ruse et la volonté politique de la génération plus âgée ! Cet état de doute extrême empêche les jeunes de découvrir les opportunités offertes par les politiques et les dispositifs en faveur de la jeunesse. Voulez-vous en savoir plus sur ces opportunités que la plupart des jeunes ne découvrent pas à cause de leur pessimisme ? Consultez cette ressource gratuite et profitez-en !
En rapport avec les " conseils pour les jeunes, " cette ressource peut aussi aider les internautes cherchant :
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Newsletter SPW Agriculture en province du Luxembourg du 12-06-24BenotGeorges3
Les informations et évènements agricoles en province du Luxembourg et en Wallonie susceptibles de vous intéresser et diffusés par le SPW Agriculture, Direction de la Recherche et du Développement, Service extérieur de Libramont.
Le fichier :
Les newsletters : https://agriculture.wallonie.be/home/recherche-developpement/acteurs-du-developpement-et-de-la-vulgarisation/les-services-exterieurs-de-la-direction-de-la-recherche-et-du-developpement/newsletters-des-services-exterieurs-de-la-vulgarisation/newsletters-du-se-de-libramont.html
Bonne lecture et bienvenue aux activités proposées.
#Agriculture #Wallonie #Newsletter #Recherche #Développement #Vulgarisation #Evènement #Information #Formation #Innovation #Législation #PAC #SPW #ServicepublicdeWallonie
Impact des Critères Environnementaux, Sociaux et de Gouvernance (ESG) sur les...mrelmejri
J'ai réalisé ce projet pour obtenir mon diplôme en licence en sciences de gestion, spécialité management, à l'ISCAE Manouba. Au cours de mon stage chez Attijari Bank, j'ai été particulièrement intéressé par l'impact des critères Environnementaux, Sociaux et de Gouvernance (ESG) sur les décisions d'investissement dans le secteur bancaire. Cette étude explore comment ces critères influencent les stratégies et les choix d'investissement des banques.
Formation M2i - Onboarding réussi - les clés pour intégrer efficacement vos n...M2i Formation
Améliorez l'intégration de vos nouveaux collaborateurs grâce à notre formation flash sur l'onboarding. Découvrez des stratégies éprouvées et des outils pratiques pour transformer l'intégration en une expérience fluide et efficace, et faire de chaque nouvelle recrue un atout pour vos équipes.
Les points abordés lors de la formation :
- Les fondamentaux d'un onboarding réussi
- Les outils et stratégies pour un onboarding efficace
- L'engagement et la culture d'entreprise
- L'onboarding continu et l'amélioration continue
Formation offerte animée à distance avec notre expert Eric Collin
Cycle de Formation Théâtrale 2024 / 2025Billy DEYLORD
Pour la Saison 2024 / 2025, l'association « Le Bateau Ivre » propose un Cycle de formation théâtrale pour particuliers amateurs et professionnels des arts de la scène enfants, adolescents et adultes à l'Espace Saint-Jean de Melun (77). 108 heures de formation, d’octobre 2024 à juin 2025, à travers trois cours hebdomadaires (« Pierrot ou la science de la Scène », « Montage de spectacles », « Le Mime et son Répertoire ») et un stage annuel « Tournez dans un film de cinéma muet ».