Art History



Art History

Introduction

The value of Art is special. It represents a unique category of human expression in which every known society through the ages has engaged. It has been suggested that a schema for art has developed through the millennia of human evolution. The factor was likely to become reinforced via historical Western associations with ethical culture. Leaders like the Egyptian pharaohs, Roman emperors, and the popes have used art for various purposes such as encouraging religious beliefs and furthering political agendas. In the modern era, the use of art in such promotional endeavours is perhaps more prevalent than ever, with firms, organizations, and individuals relying to influence diverse audiences. The status of art as a powerful communication tool seems so well established as to be obvious. Perhaps that is why few researchers have questioned, whether its capacity to influence viewers is absolute or whether it depends on the lens through which, viewed. An extensive deal of prior research has focused on the psychological experience of art, but not on the circumstances under which its influence might be diminished. The focus of this research would be on the famous Art History Book known as: “Gardner's Art through the Ages”, written by Fred S.Kleiner. The main issues that would be highlighted in this topic are health, wellness and the pursuit of happiness in Art History. Therefore, all the aspects related to the topic will be discussed in detail.

Chapter One

The Northern Renaissance is the overall heading usually given to non-Italian Western European art of the period ca. 1420-ca. 1600. It, therefore, parallels the Italian Renaissance and, like it, overlaps the reputed International Gothic at the beginning of its development and the Baroque at its end. As in Italy, the later stages of this period tend to be absorbed by the ostensible Mannerist style. The concept of Renaissance is based upon the idea of a rebirth of interest in the forms and content of Classical art, and, was originally formulated with reference to Italian culture of the 15th, and, 16th centuries. However, Northern arts of this period developed in a very different way. During the 15th century, the Northerners remained totally uninterested in the rediscoveries of the Italians. In the early years of the 16th century, their outlook altered dramatically, the Italian manner, previously shunned, was enthusiastically accepted almost overnight (Friedman, 2003, 286).

Many historians prefer to term 15th-century Northern art Late Gothic, in distinction from a 16th century Northern Renaissance. People look in vain for an awareness of the idea of cultural rebirth in Northern writings of the 15th century. This outlook was connected with that which regarded all medieval art with disfavour; both had an extremely long currency. The fundamental problem was that the roots of art historical terminologies were Italian based, and consequently lacked an appropriate vocabulary to express a positive opinion of 15th-century Northern art. Yet much Northern arts of this century can be considered progressive. Contemporary Italian commentators were united in the high esteem they felt for Northern painting; they do not appear to have considered it in any way inferior to that of their ...