1. Introduction to Art History

4. 4
CLARA PEETERS, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1’ 7
3/4” x 2’ 1 1/4”. Museo del Prado, Madrid.

5. 5
JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670. Oil on canvas, 1’
10” x 2’ 1”. Mauritshuis, The Hague.

7. Taste

8. Taste
Taste as an aesthetic, sociological, economic and
anthropological concept refers to cultural patterns of choice
and preference regarding aesthetic judgments.

17. What determines aesthetic judgements?

18. What gives us certain tastes?

19. Is it really just a function of our “ingroup” bias?

20. And why should we even care about things we don’t like ?

21. Well, for one…..because art exists for more than one subgroup or individual….

22. Art is part of our Public (shared) Experience

23. ART is reflective of the
HUMAN EXPERIENCE…good
and bad.
Edvard Munch, “The Scream”
1893, National Gallery, Oslo Norway.

28. Art Criticism

29. Liberal Arts
In classical antiquity, the "liberal arts"
denoted the education worthy of a free
person (Latin: liber, "free").
The freemen, mostly concerned about
their rights and obligations as citizens,
received a non-specialized, non-
vocational, liberal arts education that
produced well-rounded citizens aware
of their place in society.
Socrates and Aristotle emphasized the
importance of individualism, impressing
upon their students the duty of man to
form his own opinions through reason
rather than indoctrination.
A slave market in Ancient Greece--

30. Liberal Arts vs. Dogma and
Authority
The American Association for the
Advancement of Science describes a
liberal education in this way: "Ideally, a
liberal education produces persons who
are open-minded and free from
provincialism, dogma, preconception,
and ideology; conscious of their opinions
and judgments; reflective of their
actions; and aware of their place in the
social and natural worlds.”
Liberally educated people are
skeptical of their own traditions;
they are trained to think for
themselves rather than defer to
authority.

31. ART is not just for interior design and we are not just “CONSUMERS”!

33. …..and this is why Museums and Galleries are so important.
ITS GOOD TO GET OUT OF THE HOUSE and AWAY
FROM THE MARKETERS!!!

34. • ART HISTORY IS NOT ABOUT “TASTE”

35. GENERAL EDUCATION
PHILOSOPHY
• The General Education
program at Palm Beach State
College prepares the
students for lifelong
intellectual pursuit and
responsible participation in a
complex global society
through a core curriculum
that incorporates values,
shapes attitudes and offers
students a depth and breadth
of learning that transcends
the content of any one
specific discipline.

37. • "Most of the claims of such
broad-based shortages in the
U.S. STEM work force come
from employers of STEM
personnel and from their
lobbyists and trade
associations," says Michael
Teitelbaum, a Wertheim
Fellow in science policy at
Harvard University and a
senior adviser at the Alfred P.
Sloan Foundation. "Such
claims have convinced some
politicians and journalists,
who echo them."

41. ART IS POWERFUL
The reason art can please, is
also because it can
displease…..

42. ART IS POWERFUL
…. it can alternately challenge
or reinforce the value system
of any given culture.
It is one of many place where
a peoples discovers who they
wish to be….

43. EGYPT
Menkaure and Queen
Kamerernebty Old
Kingdom, Ancient
Egypt 4th Dynasty 2548-
2530 BCE
Egyptians Valued
STABILITY…..
It’s civilization lasted roughly
2500-3000 years.

45. ART and BEAUTY
Art should comfort the disturbed
and disturb the comfortable!
It has MANY purposes.

46. Official North Korean Art

47. Socialist Realism……pretty as a picture???

48. NOT SO PRETTY
Soviet Union, Stalin's regime
(1924-53): 20 million DEAD.
“As long as art is the beauty
parlor of civilization, neither art
nor civilization is secure.”
-John Dewey

50. Alex Schaefer
http://alexanderschaefer.blogspot.com/

52. Francisco Goya, The Disasters of War.

55. This print was not really meant to “hang” over the couch….

56. The Buddhas of Bamiyan were two 6th century monumental statues of standing buddhas
carved into the side of a cliff in central Afghanistan. They were intentionally destroyed in 2001
by the Taliban, on orders from leader Mullah Mohammed Omar, after the Taliban government
declared that they were "idols".

59. ART CHANGES CULTURE

61. “Degenerate Art”

64. • BAD • GOOD

65. The Nazi’s conflated Modernist art with mental and physical retardation.

66. BEGIN
Europe in the ‘Dark Ages”
66

67. 67

68. 68

70. 70

71. 71

72. 72
DONATELLO, David, late 1440–1460. Bronze, 5’ 2 1/4” high. Museo
Nazionale del Bargello, Florence.

73. 73
SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”.
Galleria degli Uffizi, Florence.

74. 74
MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca.
1424–1427. Fresco, 21’ 10’ 5/8” x 10’ 4 3/4”.

75. 75
PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome,
Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.

76. RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy,
1509–1511. Fresco, 19’ x 27’. 76

77. 77
LUCAS CRANACH THE ELDER, Allegory of Law and Grace, ca. 1530. Woodcut, 10 5/8” x 1’ 3/4”. British
Museum, London.

78. 78
GIANLORENZO BERNINI, David, 1623. Marble,
5’ 7” high. Galleria Borghese, Rome.

79. 79
GIANLORENZO BERNINI, Ecstasy of Saint
Teresa, Cornaro Chapel, Santa Maria della
Vittoria, Rome, Italy, 1645–1652. Marble,
height of group 11’ 6”.

80. 80
CARAVAGGIO, Calling of Saint Matthew, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”. Contarelli
Chapel, San Luigi dei Francesi, Rome

81. TITIAN, Venus of Urbino, 1538. Oil on canvas, 3’ 11” x 5’ 5”. Galleria degli Uffizi, Florence. 81

82. 82

83. 83
PETER PAUL RUBENS, Consequences of War, 1638–1639. Oil on canvas, 6’ 9” x 11’ 3 7/8”. Palazzo
Pitti, Florence..

84. 84
JAN VAN EYCK, Man in a Red
Turban, 1433. Oil on wood, 1’ 1 1/8” X
10 1/4". National Gallery, London.

85. 85
REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”.
Mauritshuis, The Hague.

87. 87
PIETER CLAESZ, Vanitas Still Life, 1630s. Oil on panel, 1’ 2” x 1’ 11 1/2”. Germanisches
Nationalmuseum, Nuremberg.

89. 89JEAN-BAPTISTE GREUZE, Village Bride, 1761.

90. 90
JACQUES-LOUIS DAVID, Oath of the Horatii, 1784.

92. Henry Fuseli, THE SHEPHERDS DREAM, 1793.

94. THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819.

95. “

97. 97JEAN-FRANÇOIS MILLET, The Gleaners, 1857.

98. 98
ÉDOUARD MANET, Le Déjeuner sur l’Herbe (Luncheon on the Grass), 1863.

99. 99
ÉDOUARD MANET, Olympia, 1863.

100. 100
THOMAS EAKINS, The Gross
Clinic, 1875.

102. 102JOHN EVERETT MILLAIS, Ophelia.