A World of Art (6th Edition) by Henry M. Sayre

By Henry M. Sayre

Why an international of paintings? Henry Sayre wrote the 1st variation of global of paintings simply because he desired to use a textual content in his personal artwork appreciation path that actually represented all artists, not only the Western canon chanced on at the moment within the different texts. He additionally sought after a textual content that fostered serious pondering via taking a look at, speaking approximately, and wondering artworks for his scholars. we're proud to provide the hot 6th version of worldwide of paintings, which additional strengthens those key features of the textual content whereas featuring scorching issues like video and time-based media.

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In fact, one of the reasons that Jesus, for Christians the son of God, is so often represented in Western art is that representing the son, a real person, is far easier than representing the father, a spiritual unknown who can only be imagined. Nevertheless, one of the most successful depictions of the Christian God in Western culture was painted by Jan van Eyck nearly 600 years ago as part of an altarpiece for the city of Ghent in Flanders (Figs. 16 and 17). Van Eyck s God is almost frail, surTake a Closer Look on prisingly young, apparently merciful and MyArtsLab kind, and certainly richly adorned.

When Westerners first encountered African masks in the ethnographic museums of Europe in the late nineteenth and early twentieth centuries, they saw them in a context far removed from their original settings and purposes. In the West, we are used to approaching everyday objects made in African, Oceanic, Native American, or Asian cultures in museums as works of art. But in their cultures of origin, such objects might serve to define family and community relationships, establishing social order and structure.

And because Muhammed also claimed that those who make pictures will be punished on the Day of Judgment by being told: make alive what you have created, the representation of living things, human beings especially, is frowned upon. Such thinking would lead the Muslim owner of a Persian miniature representing a prince feasting in the countryside to erase the heads of all those depicted (Fig. 29). No one could mistake these headless figures for living things. The distrust of images is not unique to Islam; at various periods in history Christians have also debated whether it was sinful to depict God and his creatures in paintings and sculpture.

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