How Are Morals Portrayed In Art?

We are also shown how these different forms of art change over time and how different cultures have adopted them and used them as their own form of art to express emotion, love, creativity, and passion. This book teaches us how art is viewed in different ways by the church and was very informative for me to obtain a better and deeper understanding of art and how the churches valued it.

In 19th century France, the Neoclassical art style arose, influenced by the classical artistic style of Greco-Roman society. Around this time, France encountered many political, social and economic changes brought up mostly by the lower class French citizens. Jacques-Louis David was a highly influential Neoclassical artist during this time. Commissioned by both Nobles and lower class citizens of France, he created artworks such as the Oath of the Horatii (image 1), the Death of Marat (image 2), and Napoleon Crossing the Alps (image 3). David's art represented the ideas of thinkers of that time rather than just the ideals of that time. The purpose of David's art was to gain the support of French citizens through artistic propaganda in order

In today’s society, we are constantly being bombarded with visual art forms. Whether they be classical paintings from the Renaissance, a towering and modern skyscraper, or even a cheesy 90’s R&B music video, they all have one thing in common. According to Carolyn Dean’s definition, these would all fall under the category of “art by intention.” In her essay “The Trouble with (The Term) Art” she advocates a distinction between art by intention and what she deems “art by appropriation.” The difference is that one work was created with the intention of being consumed for visual pleasure, while the other was not. However having been educated in the Western school of thought, many art historians cannot help but project their rigid definition of art onto civilizations that may have

Also, the painting lets us see the ideal of sacrificing. Sacrificing is not meant in the context of the Antiquity where it can mean actually sacrificing a human life, but as to bring a sacrifice. Everything must be sacrificed for the main ideal and in this case, that is the French Revolution. It is about the personal sacrifice for a ideological political situation. The Horatii brothers are willing to sacrifice their lives for the victory of Rome. Eventually, two brother sacrifice themselves for the greater good that is the city of Rome. Publius Horatio fights on and beats the Curatii, he fights for the ideal of the city of Rome. That same reasoning and interpretation can be made in relation with France and the French Revolution. The French people needs to sacrifice themselves for the greater good, according to David. The most important thing is that the ideals of the French Revolution keep existing and that there is no monarchy in France. (Khan Academy)

Many attribute the evolution of the French revolution as the catalyst for redirection of the style of artwork from Baroque and Rococo to Neoclassical and Romanticism. Two leading masterpieces that support this aspect are respectively: Jacques-Louis David, Oath of the Horatii, (c. 1784) and Eugène Delacroix, Liberty Leading the People, (c. 1830). As commented in Essential Humanities (2016), the French revolution “in all its heroic glory and grisly destruction” (par. 10) is masterfully portrayed in Delacroix 's personification of liberty. In addition, the summons for commitment to the cause of freedom is classically rendered in David 's vow of victory or death. Within this essay both of these paintings are examined in regards to their connection to the French revolution.

Claude Vignon’s work called David with the Head of Goliath, is an interpretation of the artist Caravaggio’s original masterpiece, which shows art’s familiar paradigm, every painter paints himself. His motivation for creating this piece was from visiting rome in 1610, he was influenced by Caravaggism, which was art inspired in the style of Caravaggio. “Some art historians regard him as a precursor of Rembrandt.” Painted circa 1620-1623, it is an oil on canvas, made in Paris, France, 133.7 cm x 98 cm (52 5/8 in. x 38 9/16 in.). “Vignon was a French painter, printmaker and illustrator, and, in 1623, was one of the most respected, productive, and successful artists in France, in which his patrons were king Louis XIII and Cardinal Richelieu.” He was born into a wealthy family and started art lessons when he was a young boy. A theme could be religious rebellion against others who were seen as powerful such as Goliath, and were not fit to be in power.

Art is able to evoke different feelings and emotions to each person that sets their eyes on it. The act of ‘looking’ is simple, but a lot comes from it. Where the eyes are first drawn to, the duration that the eyes are focused on a specific detail, and the thoughts that flood one’s brain when viewing art is all significant. These actions say more than the piece itself, it reveals emotions of both the artist and the audience. Art can be expressed through infinite forms, but the underlying importance is not with the art itself. It represents a place in time, displaying what was noteworthy to an individual in their own life. It serves as a lasting creation representative of human imagination with the ability to bring out a multitude of emotions from whoever views it. When art is created it represents the creativity of the human mind compacted into a physical object. Art has little usage aside from pure observation, yet it has prevailed throughout time, showing its importance to humanity. Art provides a lens into humanity, showcasing the human ability over time. When studied through history, art is a view into the development of humans and their interests. Through something as basic as commonly using symmetry to transitioning to asymmetry, the European’s perspective following the Renaissance is revealed. The making of art is solely up to one individual and their creativity. It is the pinnacle of

The Bronze David by Donatello of the Early Renaissance shows a subtle transition through style and form to the High Renaissance when compared to the marble David by Michelangelo. Yet a similar Renaissance interpretation of the character of David is seen in both pieces. Donatello’s David embodies the humanism and classicism of the Italian Renaissance, and pioneers styles that would influence a generation. The perfection of David by Michelangelo creates a similar allusion to humanism and classical form while indicating Donatello’s lasting influence and inserting neoplatonic ideas of the High Renaissance.

The art piece created by Claude Vignon , “David with the Head of Goliath” has three important elements that are vital towards the piece in order to portray a message of power and authority. Which are the focal point, proportions, and the contrast of this particular piece. The artwork is oil on canvas that was made around in 1593-1670. The subject matter of the artwork is depicting the moment of pride David had with the head of the giant Goliath being laid next to his small body. The portrait of David is seen on the viewers middle left side, while the head of Goliath is in the middle right side next to David’s. David is seen wearing clothes that appear to be a size to big on him, to the point where the shirt is slipping from his shoulder (exposing his left shoulder). The clothes themselves are interpreted as royal clothing, having a big headpiece located in the top half of the painting. With the exposed shoulder being leaned forward on, in his left hand David holds a silver sword that is seen to to take

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

Art work with freedom to express aesthetic seems always standing in an opposite pole to social constracted rule, such as ethics. Expecially when I walk in a contenpeary art galleary, it is often to hear commons about a work as “new”, “rebellion” or anti-something. In the chapter Guide for the Misbegotten, Tillman write about John Water, a “ reluctant ethicist” summerized by her, felt guilty about “using the Manson murders in a jokey, smart-ass way in [his] earilier films without the slightest feeling for the victims’ families or the brainwashed Manson Killer kids who were also victims in this sad and terrible case.” To have sympathy for victims is like an instinct of human being, to apologize for bring hurt to others are also common sense. However, what would Tillman and other writers write about John Waters if he followed common sense and old fasion, would his work be recommend just by what it is ? If not, then how to explain an art forgery of old painting made by contempoery painter is

As literary critics, Plato and Aristotle disagree profoundly about the value of art in human society. Plato attempts to strip artists of the power and prominence they enjoy in his society, while Aristotle tries to develop a method of inquiry to determine the merits of an individual work of art. It is interesting to note that these two disparate notions of art are based upon the same fundamental assumption: that art is a form of mimesis, imitation. Both philosophers are concerned with the artist's ability to have significant impact on others. It is the imitative function of art which promotes disdain in Plato and curiosity in Aristotle. Examining the reality that art

David was a supporter of the French Revolution and this may be his political influence on the painting even though Napoleon was a son of the Revolution as well.

When one thinks of art and religion, one may think of gender role defiance and non-conformism. While this may be generally true in present times, it was not always this way. Women and men have had distinctly different places in society, these places often being unequal. Generally most well-known works throughout the ages have adhered to and represented what society regarded as the proper gender roles for men and women. This is represented in three works of art which will be discussed: Hamlet by William Shakespeare, The Courtier: Book 3 by Baldassare Castiglione, and Luncheon on the Grass by Eduoard Manet. While these three forms of art come from different times and are of different mediums, they are connected in that they follow and represent the gender roles of their time.

Not only did David want to do this but his artistic viewpoints wanted him to reflect the use of propaganda to others through art in the Neoclassical era. In other words, he wanted to depict through the painting how politics during the French Revolution were taken sternly and had serious repercussions in a sort of misleading way. In the same way, if you did not fit into the rest of society and you stood out you were labeled as a target. As we see Marat was murdered by Corday who was seen as his political enemy. In the meantime, through the style of David’s painting we see the use of iconography or “the study or description of images and symbols” . Here in this painting of The Death of Marat we see the main image (i.e. Marat) being used as more than just the centerpiece of the work rather, the symbol of the work which means there is more to this work than just The Death of Marat. Strangely enough, we can see the use of iconography when comparing The Death of Marat to an almost political Christ of his people. Meaning that Marat was killed for his religious beliefs/political beliefs and died for his people as that of Christ did with his religious beliefs. Incidentally, we can say that “David’s clear sympathies for Marat and his transformation of the politician into a timeless martyr” or someone who sacrifices their life for not believing in Marat’s case the political beliefs of the others in