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ART HISTORY:
AN INTRODUCTION
MS. PEÑATE
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… LETS BREAK IT APART …
ART HISTORYPertaining to the present; persisting/continuous events.
Art is visible, tangible, experienced, and
appreciated (or not).
Forms of Art: Fine, Digital, Performance.
Recordings and interpretations of past human actions/events:
Social & Political.
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ANCIENT HISTORICAL ITEMS:
(ARTIFACTS)
MANY ITEMS ARE VIEWED AS ART IN PRESENT DAY, AS OPPOSED TO
WHAT THEY WERE INTENDED FOR DURING THEIR OWN TIME
FRAME/PERIOD.
* COINS, JEWELRY, POTTERY & CHINA, BATTLE ARMOR & WEAPONS,
SARCOPHAGI, ARCHITECTURE/STRUCTURES, ETC.
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Coins
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Jewelry
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Pottery, China & Utensils
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Weapons & Armor
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Sarcophagi
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Architecture/Structures
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QUESTIONS ART HISTORIANS ASK
• HOW OLD IS IT?
• WHAT IS IT’S STYLE?
• WHAT IS IT’S SUBJECT?
• WHO MADE IT?
• WHO PAID FOR IT?
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HOW OLD IS IT?
• CHRONOLOGY- DATING OF OBJECTS AND BUILDINGS.
• PHYSICAL EVIDENCE- MATERIALS USED OR DID NOT USE.
• DOCUMENTARY EVIDENCE- DATED WRITTEN DOCUMENT.
• INTERNAL EVIDENCE- CLUES WITHIN THE WORK: IDENTIFIABLE
PERSON(S), CLOTHING, HAIRSTYLE OR FURNITURE OF A CERTAIN TIME
PERIOD.
• STYLISTIC EVIDENCE- STYLE: AN ARTIST’S DISTINCTIVE MANNER OF
PRODUCING AN OBJECT.
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CHRONOLOGY
Relative dating methods are unable to determine the absolute age of an object or event, but can determine the
impossibility of a particular event happening before or after another event of which the absolute date is well
known.
Absolute dating methods, by using absolute referent criteria, mainly include the radiometric dating methods.
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PHYSICAL EVIDENCE
• THE BRONZE AGE – STARTED 3200 BC, AND WAS
CHARACTERIZED BY THE WIDESPREAD USE OF
BRONZE.
• TIN MUST BE MINED (MAINLY AS THE TIN
ORE CASSITERITE) AND SMELTED SEPARATELY,
THEN ADDED TO MOLTEN COPPER TO MAKE
BRONZE ALLOY.
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DOCUMENTARY EVIDENCE
Evidence that is, or can be, introduced at a trial in the form of documents, as
distinguished from oral testimony.
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INTERNAL EVIDENCE
1920’s: Convertible Cars-
Driving gloves and cap
Queen
Elizabeth the
First: Letter B
necklace for
her last name
Boleyn. Reign
from 1558 -
1603
Gare Saint-Lazare
train station:
Mid 1800’s
Travel & Clothing
George Washington:
Presidency from
1789-1797
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STYLISTIC EVIDENCE
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WHAT IS IT’S STYLE?
• PERIOD STYLE- CHARACTERISTICS OF AN ARTISTIC MANNER FROM A SPECIFIC TIME
AND CULTURE.
• REGIONAL STYLE- A STYLE TIED TO GEOGRAPHY/PROVENANCE: PLACE OR ORIGIN.
• PERSONAL STYLE- DISTINCTIVE MANNER OF AN INDIVIDUAL ARTIST OR ARCHITECT.
* AN ARTIST’S PERSONAL STYLE MAY CHANGE DRAMATICALLY DURING A LONG CAREER.
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PERIOD STYLE
Rococo Impressionism Pop Art
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REGIONAL STYLE
Greek Pottery Aztec Pottery
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PERSONAL STYLE
PABLO PICASSO
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PABLO PICASSO
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WHAT IS IT’S SUBJECT?
WHAT THE ARTIST IS PRESENTING TO
THE VIEWERS:
STORY/NARRATIVE/SCENE
ACTIONS/TIME AND PLACE
PERSONS INVOLVED
ENVIRONMENT & DETAILS
* IN ABSTRACT ART, THERE IS NO SUBJECT OR
SETTING. THE “SUBJECT” IS THE ARTWORK ITSELF.
PICTORIAL SUBJECTS/CATEGORIES:
RELIGIOUS
HISTORICAL
MYTHOLOGICAL
GENRE (DAILY LIFE)
PORTRAITURE
LANDSCAPE
STILL LIFE
ICONOGRAPHY/SYMBOLS
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WHO MADE IT?
IF AN ARTWORK IS NOT SIGNED AND DATED BY ITS CREATOR, ART
HISTORIANS CAN ASSIGN OR ATTRIBUTE AN ARTWORK TO A
SPECIFIC ARTIST BASED OFF OF THE ARTIST’S PERSONAL STYLE.
* SOMETIMES A GROUP OF ARTISTS WORK IN THE SAME STYLE AT
THE SAME TIME AND PLACE. THE GROUPS ARE DESIGNATED AS A
“SCHOOL”. THEIR SIMILARITIES CAN RANGE FROM CHRONOLOGICAL,
STYLISTIC, AND GEOGRAPHIC SIMILARITIES WITHIN THEIR
ARTWORKS.
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THE DUTCH SCHOOL (17TH CENTURY)
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THE HUDSON RIVER SCHOOL (MID-19TH CENTURY)
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WHO PAID FOR IT?
PATRONS – THOSE WHO PAID ARTISTS TO MAKE INDIVIDUAL
WORKS OR EMPLOYED THEM ON A CONTINUOUS BASIS.
* PHARAOHS, EMPERORS, KINGS, CHURCHES, & WEALTHY FAMILIES.
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Commissioned by Egyptian Pharaohs Khufu (tallest), Khafre (background),
and Menkaure (front) between 2560-2540 BC.
The Pyramids of Giza
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Commissioned by the Roman Emperor Vespasian, in AD 72.
The Colosseum
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Commissioned by King Louis XIV. Painted by Hyacinthe Rigaud in 1701.
Portrait of King Louis XIV in Coronation Robes
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Commissioned by Pope Julius II. Painted by Michelango between 1508 – 1512.
The Sistine Chapel Ceiling
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Commissioned by Daniel Graham, apothecary to King George II of Great Britian. Painted by William Hogarth in 1742.
The Graham Children