such great nations has been much attributed to the great role model, ancient Greeks for their many contributions, such as architecture, fine arts, education, philosophy, and mostly for their form of democracy and ways of government. The architecture and fine arts in ancient Greece had proved to be beyond its time. The Greeks talent for architecture and art was and still is irresistible to many artist of today. The spread of this talent moved from the Greeks throughout Europe, especially Ancient
I have great pleasure in enclosing my CV in response to your advert on the University of Leicester Museum Studies’ Jobs Desk for a London Coordinator (Sculpture) for Art UK Sculpture. As a passionate supporter of our national and regional cultural heritage, I thoroughly enjoy working with objects, ideas and stories, inspiring other to engage with art. I have long-standing knowledge of London, having lived - in North, South and West London - and worked in the Capital for many years, and I am familiar
Martin Robertson and Mary Beard’s manuscript, Adopting an Approach, focuses on the study of Athenian pottery. The manuscript begins, by describing Sir John Beazley and his revolutionary method of studying Greek vases. The Beazley Method focuses on the technical conventions of Greek Vases such as naming the artist, dating the pieces and then grouping them based off of similar characteristics. Beazley “provided for the first time a comprehensive framework of analysis for Athenian painting, and a way
phrases may imply, they are all congruent under one conceptual factor: time. The measurement of existence is based on the past, present and future. The residue of existence is art. Art is a product of time. Deliberate or not, time in artists’ work play a role in the making through process, narration, materials and motion. Art is a process. One must move freely from idea, to research/exploration, to construct in order to become fully immersed in the act of making. Even in the construction of a piece
of what happened after you died. Humanism transformed individual’s role in society by encouraging education in humanity, a well rounded individual, personal virtue and enhancing art. The roles of individuals were exceedingly swayed by the advancements in education. Individuals were encouraged to learn poetry, history and politics. That these should not be only learned for their own sake, but also to improve oneself. That to only do the necessary to go to heaven was not enough, they had to do
structural levels. She categorized art objects according to their types, geographical origin, functions, means of acquisition, and meanings. In the result of her study Anna received big amount of quantitative data that she placed in tables in accordance with her analysis criteria. Her findings are based on empirical data that she collected. During her research Anna developed new approaches into studying art, introduced new classification of art that was more relevant to the study objectives. She obtained conclusions
character a ruler must posses, and the success that could be attained if a ruler should follow the guide. The scope in which the book is written is that of a scholarly observant. Machiavelli places his findings and observations of history, as well as the needs of the people so the information may serve the prince as a tool, that once implemented will create and maintain a powerful state. The guide places a particular emphasis on the prerequisites of a good ruler. Arguing that a ruler must “..
A philosophy provides a "framework for thinking and guides professional practice," (p. 219). My teaching philosophy is perennialism, and it will help me to address the lack of motivation to learn beyond the boundaries of the rote methods that these students have been trained to work with, due in large part to No Child Left Behind. As a perennialist, I believe in "time-honored absolutes" when it comes to my instructional methods and approach (p. 219). It is not the fault of these students that they
symmetry, and balance, were considered by many European generations to be the highest point of artistic excellence. Although many movements in European art were largely devoid of classical characteristics, they were always looked to as sources of inspiration and were revived as significant movements at least three times throughout European history, in the twelfth century, during the Renaissance, and during the age of the present topic, the Enlightenment, with its development of Neoclassicism.
Mary Stevenson Cassatt's Miss Mary Ellison (1880) and Edgar-Hilaire-Germain Degas's Mademoiselle Malo (1877) are two paintings that, when compared and contrasted, shows numbers of influences that Degas had on Mary Cassatt's art. Both of these paintings are portraits done in tbe standard ¾ point of view. Even at a mere glance, it is easy to see the striking similarities between the two portraits. It is not too farfetched to assume that Degas had a lot of influence on Mary Cassatt's work because it