No doubt you are familiar with the work of the renowned wildlife artist John James Audubon, most likely his famous prints from The Birds of America. But did you know he wasn’t the only artist in the family? His son, John Woodhouse Audubon, spent much of his career supporting the work of his father, but he made a valuable contribution to wildlife documentation himself. (You can compare the two Audubons’ styles in the images below: the father’s are on the left, the son’s on the right.)
Archive for the ‘Discovery’ Category
Kenyon Cox (1856-1919) might now be best remembered for his murals in the Library of Congress, as well as in the state capitol buildings of Des Moines, St. Paul, and Madison, but he was also a respected writer and influential teacher. In 1911, he delivered a series of lectures on painting at the Art Institute of Chicago, later published as The Classic Point of View. His accessible writing style and his infectious enthusiasm for the Old Masters still speak to us today. Following is an excerpt from his lecture on the importance of drawing, focusing on the work of Botticelli and Michelangelo.
Drawing is a great expressional art and deals with beauty and significance, not with mere fact. Its great masters are the greatest artists that ever lived, and high attainment in it has always been rarer than high attainment in color. Its tools are the line and so much of light and shade as is necessary to convey the sense of bulk and modelling, anything more being something added for its own beauty and expressiveness, not a part of the sources of the draftsman. Its aims are, first, to develop in the highest degree the abstract beauty and significance possessed by lines in themselves, more or less independently of representation; second, to express with the utmost clearness and force the material significance of objects and, especially, of the human body. According as one or the other of these aims predominates we have one or the other of the two great schools into which draftsmen may be divided. These schools may be typified by the greatest masters of each, the school of Botticelli, or the school of pure line; the school of Michelangelo, or the school of significant form. Between these lie all the law and the prophets. Of course no artist ever belonged entirely and exclusively to either school. It is always a matter of balance and the predominance of interest. Even a Botticelli tried to put some significant form inside his beautiful lines, and even Michelangelo gave thought to the abstract beauty of his lines apart from the significant form they bounded. (more…)
Looking for ideas on how to integrate images in your teaching? Curious about how your colleagues are using Artstor? Check out Artstor’s case studies! Composed of the Artstor Travel Awards-winning essays and image groups, the case studies describe the creative ways subscribers in all disciplines are using the Artstor Digital Library in their teaching, research, and scholarship.
We’ve recently made the case studies more accessible. Simply click on the Teaching Resources link under the Browse section in the Digital Library homepage and you’ll find them organized by topic. (If you’re visiting Artstor on your phone or tablet, you’ll find the case studies under Global Folders.)
He was only eighteen years old, yet William Turner’s watercolors were already praised in print as follows: “By dint of his superior art he has rolled such clouds over these landscapes as has given to a flat country an equal grandeur with mountain scenery, while they fully account for the striking and natural effects of light and shade which he has introduced.” The critic John Ruskin would also become a big supporter in the artist’s later years.
How could they not admire those rolling landscapes, the colorful skies! No wonder Turner’s considered a precursor to the Impressionists! Oh wait—wrong William Turner.
Yes, of course we’re watching Game of Thrones. The TV series based on a still unfinished (!) series of books by George R. R. Martin brings a new meaning to the word epic.
With more than 40 main cast members and complicated storylines for each, it’s a wonder anyone can keep track of what’s going on. Set in a distant land during the Middle Ages, this show has betrayals, dragons, knights, and a nail-biting struggle for power. It’s so rich with imagery that we were inspired to dive into the Artstor Digital Library to illustrate it.
Posted in African Art, American Art, Asian Art, Decorative Arts, Discovery, Drawings and Watercolors, Modern & Contemporary Art, Native American Art & Culture, Paintings, Prehistoric & Ancient Art and Architecture, Renaissance, Sculpture & Installations, tagged bunnies, easter, hares, rabbits on April 2, 2015 | 2 Comments »
Easter is around the corner, and with it comes the inevitable barrage of images of the Easter bunny. The strange thing is that the only mentions of rabbits in the Bible are prohibitions against eating them in the Old Testament. So what gives?
The underlying idea is that rabbits are connected to the idea of rebirth—not only do they reproduce prodigiously, at one time they were believed to reproduce asexually. The connection of rabbits to rebirth also occurs in non-Christian societies: The Rabbit in the Moon (instead of our Man in the Moon) is a familiar symbol in Asia, and was part of Aztec legend, tying the idea of rabbits to a “rebirth” every night. But other qualities of rabbits and hares also get highlighted in folklore, including their mischievous side, playing the role of cunning tricksters in Native American and Central African mythologies. (more…)