Classical Art and the Renaissance
Discuss how the art of the ancient Greeks and Romans influenced the art of the later Renaissance. What did the Renaissance artists take from their classical counterparts, and in what ways were they innovative themselves? Even though the Renaissance artworks look similar to art from the Classical past, do you think that they shared the same meaning? Identify specific examples from artworks in your answer. 3-4 sentience answer
The art of the ancient Greeks and Romans influenced the art of the later Renaissance. For many historians, the Renaissance, which originated in the city-states and humanists intended to revitalize the sophisticated spirit of the ancient Greeks and Romans. The Renaissance unbolted the gate to three new-fangled worlds of great magnitude. One of the door led to a discovery of the ancient Greeks and Romans. For instance, the aesthetic principles of the ancient Greeks and Romans influenced the artists of the Renaissance, and many Europeans. Renaissance statuette in most respects is simply an influential creation and art of the ancient Greeks and Romans, influenced the subject matter and style of the later Renaissance. But for the Renaissance mind, any such respect for the past, the whole past, was out of the question. Such respect would have entailed respect for the Middle Ages- the Italian humanists referred to the period as the medium aevum – a time frame that for them was of at least a thousand years duration. The humanists adored the ancient past, to be sure, and it was their wholesale rejection of everything medieval and their passion to imitate what the ancient Greeks and Romans had accomplished that created the foundation for their vaunted golden age in the fifteenth century (Nisbet, 1994, p. 103). During the Renaissance, scholars, architects, and artists rediscovered just how advanced the ancient Greeks and Romans had been (Mason, 2005, p. 7).
Form Follows Function Colosseum (page 369), St. Sernin (see page 371), Frank Lloyd Wright’s Fallingwater (see page 378), and the proposed plans for the World Trade Center memorial (see pages 393 and 394), and then discuss how these examples relate to the idea of "form follows function." In your response demonstrate how the available building technologies of the day affect the design of each. 3-4 sentience answer.
The building technologies of the design of Colosseum, St. Sernin, Frank Lloyd Wright’s Fallingwater and the proposed plans for the World Trade Center memorial result of the meta-technology began. Particulars of these solutions are not open to the architect's design manipulations (Bachman, 2003, p.19). The two approaches are complementary; without the advances in building technology that began during the Industrial Revolution, neither the philosophy of (Best and De Valence, 2002, p.11).
Modernism and Postmodernism
Explain the development of modernism and postmodernism in art, especially concerning its roots in the 19th century. Define modernism and postmodernism, and demonstrate how modernism led to postmodernism. Looking at the textbook, which artworks seem to be prime examples of modernism and postmodernism?
Rorty thereby became an American representative of postmodernism, albeit in pragmatic grab, giving postmodern a meaning outside the European tradition (Cahoone, 2003, p. 187). On the contrary, we mean to suggest that acknowledgement of the openness of a range of open questions is a condition of any component study of modern art and of its theory. But we can at least be explicit about our historical parameters, since these are largely decided for us by the current state of art-theoretical debate, and specifically by that interest in the idea of the Postmodern which has developed since the later 190s. The period we have aimed to survey, then, coincides with the life-span of modernism as a determining if gradually decaying value in the theory of art. We therefore commence with the end of the nineteenth century, at a time when modern art was being widely advanced as a form of independent culture, its critical bearing upon the world secured not by connections of likeliness or of naturalism, but by virtue of the very independence of its values. Art, it was then proposed, is an exemplary realm. This position, which can be explicitly identified wit in the tradition of modernism, was never to go unopposed in the development of modern of art (Harrison and Wood, 2003, p.2). It should be clear, the, that modern art cannot simply be equated with Modernism. Rather, modernism stands on the one hand for a cluster of notionally independent values associated with the practice of modern art and on the other for a particular form of critical representation of modern in art – a representation in which the pursuit of art’s moral independence is taken to be decisive. We mean also to acknowledge other positions, including some that are explicitly hostile to Modernism both as practice and as representation, and some that are intentionally Postmodern.