Art History Question?
A building technique used in Egyptian temples was: a. post and lintel b. beam and balance c. corbelled vaulting d. cyclopean construction Please and Thank You!
Art history question please help!?
there are no such civilizations.
AP art history Question help?
Just so you are aware, plagiarism is not just when you copy word for word, it is also when you use others' ideas and present them as your own, so whenever you paraphrase someone else's argument you should always reference, as otherwise it is plagiarism. Just make sure you put down everything you read on your bibliography, as that should cover you, but do be aware, if you are caught stealing ideas, it will have the same consequences as if you are stealing word for word. As far as Chinese landscape painting goes, why don't you start with Wikipedia. Here is a link to the article on Chinese painting which talks about landscape painting: http://en.wikipedia.org/wiki/Chinese_pai... And try this article on Chinese philosophy so you have an idea of what you should be looking for in the paintings: http://en.wikipedia.org/wiki/Chinese_phi... If you want more information, use the references and external links at the bottom of the pages, but remember to put whatever you read on your bibliography! Good luck!
Could you help me have a look at these questions about art history?
Ok, but I hope you recognize art history is absolutely the least interesting thing about art.1. This style uses a through tenon. Which means the joint is secured with a wedge instead of glue. They liked it because it was much showier than a buried tenon, which could be roughly formed. The far side of the mortice was also exposed, which further displayed the high craft of perfect fit. The unglued joint allowed the furniture to be stored and shipped knocked-down. And one very subtle thing: Arts and Crafts homes are notoriously drafty. This over-ventialation creates wide seasonal swings in indoor humidity, which plays havoc with wooden furniture joints. With a wedge, a joint could be tightened as the wood shrunk. 2. Leni Riefenstahl certainly takes a sinister 1st place in this category for projecting Nazi pride. I always thought Futurismo told a great story about prewar Italian optimism. 3. Penelope Hunter-Steibel doesn't provoke any interest.4. A&C always seems to run a bit too heavy in lumber, and straight in form. So C, Gothic is medieval England, right?5. Another dull personality question, but I think this should be pointing at Rushkin.6. D. I hate all that stuff, but guessing the Italians were somewhat more mythologically oriented than the French.You better tell me the right answers.
SHORT LESSONS IN ART HISTORY QUESTION AND ACTIVITES?
do you guys know where to get the answer key for SHORT LESSONS IN ART HISTORY QUESTION AND ACTIVITES. I'am a homeschool teacher teaching my son in art but cant find it anywhere. Can you guys help me
Need help with Art history question! (Baroque Period)?
You should go to a library and get some books on the baroque period, but here are some brief answers: The reason that artists needed a more emotional response from viewers was that art was in the process of shifting from a strictly courtly affair to a more public one and artists and musicians needed to become salespeople rather than depending on court patronage alone. Even royal and church commissions by patronage could be used to build their fame and personality so they could get private ones as well. The theatrical effect in painting was manifested primarily by use of costumes and/or contemporary clothing in historical or exotic scenes and by chiaroscuro, the use of sharp contrast between light and dark. In sculpture, subjects started looking more like "action figures" -- lots of equestrian stuff, theatrical spectacles like Bernini's Saint Theresa, etc. In architecture, the simplicity of the renaissance was replaced by very fluid and curving lines and lots and lots of ornamentation. In music, opera was invented and church music added instrumental parts (there were other changes there too but you are asking about visual art). As for status of artists, it increased with exposure to the public eye. In addition, in some countries like Holland, there was little noblity and the church was Calvinist, which frowned on religious art. So folks like Hals, Rembrandt and Steen came along and painted picture for middle class merchants to hang in their homes to enjoy instead of painting royal and churchy things. Hope this answers the firs three questions at least but you should do your own research.
Art History Question for SMART People?
While i am in no way a "smart" person, and despise the tag, I think there is a somewhat obvious link between all civilisations and art. In the abstract that link is inspiration and purpose. In the concrete (oh look at the post-modernists shudder) that's god and women (with most famous artists unfortunately male and all). Most of the civilisations you mention where polytheistic (the exception being the Persians to a degree), and the link between art and gods (re: pleasing them) is pretty established - indeed the Western world's most famous art period - the Italian renaissance is almost exclusively religious. From here the link with survival is obvious. Particularly in polytheistic, but also monotheistic, societies, the act of pleasing gods related directly to you crops, fertility, survival and whether or not your local sports team won. So ignore you gods at your peril. As for your final question, i think the above explanation answers it. These societies lives depended on their organisation, and their gods, so the art they created necessarily was the most appropriate for their survival - from the great 5 legged Assyrian winged horses (so they had appropriate amounts of legs from front and side on) to the Stone of Hammurabi, which set out "an eye for an eye" on a glorious stone obelisk - both can be seen in the Louvre - it all served that purpose.
I have to answer questions about the lincoln memorial for art history help ?
Here are some of the questions- Note: when it says "artwork" its meaning LIncoln Memorial... 1. List the subject, object, and details in the artwork 2. Identify the elements of art used. (line, value, shape and form, color, texture). 3. List the principles of design and how they were used in the artwork. (balance, movement, emphasis, variety, unity, pattern) Pleaseee help. Thank you so much
Art history question please help 10points best answer ?
Besides the Appian Way, what other feat of architecture and engineering did Appius Claudius Caecus initiate? a.the Roman baths b.the Colosseum c.the first aqueduct d.the first amphitheater
Art History Question: What are the Balancing and Interconnecting of "The Third Class Carriage" by H. Daumier??
Honore Daumier, a French artist, was deeply interested in people, especially the underprivileged. In Third-Class Carriage he shows us, with great compassion, a group of people on a train journey. We are especially concerned with one family group, the young mother tenderly holding her small child, the weary grandmother lost in her own thoughts, and the young boy fast asleep. The painting is done with simple power and economy of line. The hands, for example, are reduced to mere outlines but beautifully drawn. The bodies are as solid as clay, their bulk indicated by stressing the essential and avoiding the nonessential. These are not portraits of particular people but of mankind Further note in the Lit...... Running parallel to Daumier's trenchant satire is a sense of the dignity of family life and of work. In The Soup (c. 1862-1865) a working-class couple hastily eat their supper; the woman appears old and careworn but by no means frail, and her ample breast is well able to sustain the next generation. The laundress who climbs with her child from the bank of the Seine is rendered in a manner that makes her appear both monumental and tender: her heavy frame is bent with solicitude toward the child, whose safety in climbing the stairs she ensures. The family group crowded into the Third-Class Carriage (c. 1862-1865) maintains a rather tragic dignity; even in this very secular context Daumier invokes universal themes of youth and experience, loss (where are the men?) and nurture.