In this argumentative essay, I will explain who Jakob Phillipp Hackert is, what his story is, the development of ‘The Excavations at Pompeii’, and the deeper background of this painting and the era in which it was created. Jakob Philipp Hackert's painting, ‘The Excavations at Pompeii’ serves as a compelling historical narrative, vividly representing the socio-cultural landscape of Castellamare and the Sorrentine Peninsula in Pompeii during the late 18th century, therefore manifesting insight into the era's societal dynamics, architectural heritage, and cultural background. Jakob Philipp Hackert was a German landscape painter and draftsman known for his illustrations and paintings of landscapes, architecture, and historical scenes. Hackert is also known to be a creator of compositions and a technician as well as a master of prose (The Burlington Magazine). Hackert’s story starts with traveling as it made his name known and exposed him to the artistic world and societal culture of this era. In 1762, Hackert left his home in Berlin to expand his knowledge of art in northern Germany. This is when his creativity got tested and took off because of his talent. These travels resulted in paintings for the Olthoffs, the great hall of Schloss Boldewitz, to then going from Stralsund to Stockholm with …show more content…
His transformation as an artist was simply remarkable, “During this time he also produced a series of etchings, Vues de Suède, which shows his development, from rather perfunctory beginnings, into a remarkably
Geographical features played a prominent role in the daily life of Pompeii. A geographical feature is a natural or manmade feature of an environment. For the city of Pompeii, the location was a key aspect of its daily life. In addition, the economic activity and industry was important in the everyday life of Pompeii’s citizens. Evidence also suggests entertainment played a large role in the life of the city’s population. Archaeological remains also stress the Roman influence of its streets and buildings. All these features contributed to the daily life in Pompeii.
The Pompeian excavations of both the 19th and 20th centuries offer different archaeological methods and techniques that were used to uncover information regarding Pompeii. Francesco La Vega and Karl Webber were amongst the first people who set up the foundations for archaeologists to come including Giuseppe Fiorelli and Vittorio Spinazzol. Both the 19th and 20th century archaeologists have used diverse methodologies which all have left an imprint into Pompeian knowledge and history.
In the essay “Naturalism and the Venetian ‘Poesia’: Grafting, Metaphor, and Embodiment in Giorgione, Titian, and the Campagnolas,” Campbell explains the role of poetic painting, poesia, in Venetian artwork during the 1500s. Titian personally used the term poesia when he “[referred] to paintings he was making for [King Philip II] with subject matter derived from the ancient poets.” Poesia now refers to a type of sixteenth century Venetian painting, which Giorgione and Titian initiated and used within their works. Campbell’s main argument is that poesia is not simply aesthetic or reflective of poetry, but rather “grounded in the process of making – and in making meaning – rather than in an aesthetics of self-sufficiency or self-referentiality.” Like poetry, it is not self-contained; meaning lies outside of the work, within the interpretations of the viewers. He discusses the idea of grafting in poetry and how the same grafting model is utilized in the visual arts. Different images, such as pagan figures and contemporary figures and settings, are juxtaposed to create visual discordance and give an intrinsic meaning to the viewer. Campbell then uses many examples of writing, poetry, engravings, and paintings to explore his argument and the connections between artists during the 1500s.
Lorenzo De Medici can be considered as one of the most influential men of the 13th century. His work in political affairs and administration were renowned in all Italy and his family could count on him in every aspect. Lorenzo was also a promoter of a new period called Renaissance. He was one of the first “mecenate” to explore this new way of art. In this project, I will concentrate how he developed art in Florence, giving a clear example through an Artist of that period that was working for him: Sandro Botticelli. His work “The Spring” is a well-defined example of what we can call “art in the Renaissance”, in particular for the Italian Renaissance.
The city of Rome delivers rich culture, influential architecture, and beautiful scenery that collectively demonstrate a course of great history and a prominent civilization. There are various structures from Imperial Rome that are highly recognized and mentioned within artistic research. Some examples include the Pantheon, Basilica Ulpia, Flavian Amphitheater, Arch of Titus, and Column of Trajan. Also referred to as Trajan’s Column, the iconic sculpture retains a prestigious appearance as it’s shown with characteristics of empowering height and intricate detail (Fig. 1). When analyzing such a remarkable piece of artwork one should consider the different elements that pertain to the subject matter and historical context. With that in mind, this paper presents the argument that the column is not only a portrayal of the Dacian Wars but also a funerary monument, paradigm of military inspiration, and tribute to Trajan’s reign.
Pompeii is possibly the best-documented catastrophe in Antiquity. Because of it, we know now how the Pompeians lived because they left behind an extensive legacy of art, including monuments, sculptures and paintings. Pompeii lay on a plateau of ancient lava near the Bay of Naples in western Italy in a region called Campania, less than 1.6 kilometers from the foot of Mount Vesuvius. With the coast to the west and the Apennine Mountains to the East, Campania is a fertile plain, traversed by two major rivers and rich soil. However, in the early days, it was not a remarkable city. Scholars have not been able to identify Pompeii’s original inhabitants. The first people to settle in this region were probably prehistoric hunters and fishers. By at least the eight century B.C., a group of Italic people known as the Oscans occupied the region; they most likely established Pompeii, although the exact date of its origin is unknown. “The root of the word Pompeii would appear to be the Oscan word for the number five, pompe, which suggests that either the community consisted of five hamlets or, perhaps, was settled by a family group (gens Pompeia)”(Kraus 7). In the course of the eight century B.C., Greek and Etruscan colonization stimulated the development of Pompeii as a city around the area of the Forum. A point for important trade routes, it became a place for trading towards the inland. Up until the middle of the 5th century B.C., the city was dominated politically by the Etruscans.
Nearly two millenniums ago a massive eruption rocked the Roman city of Pompeii, destroying buildings and coating the town in deep layers of volcanic ash. Fortunately, this same ash served as a tool for preservation and has allowed archaeologists to discover the remains of various types of Pompeii’s art. The values, beliefs, and daily workings of Roman culture have been brought to new light through the paintings, mosaics, statues and other forms of art found in the lost city of Pompeii.
The construct of the ‘Roman copy’ in art history has deeply rooted and extensive origins. Whilst this prejudiced was attached to Roman sculpture from an extremely early time in modern archaeology and art history, the construct viewed in a current context reveals issues with both its development and contribution to historical understanding and education. The construct is formed upon several main factors that have recently been called into question by revisionist historians. Firstly, the development of the construct by conservative historians during the 18th century, a context that valued artistic originality and authenticity, lead to it’s popularisation and circulation as a respected model. Secondly, the construct rests entirely on the presumption that Greek art is in fact aesthetically and artistically superior, insinuating a negative predisposition towards Roman artistic workmanship and aesthetics. Lastly, technological advancements aiding historiography have asserted the fact that many conclusions drawn by conservative historians through their methodology are in fact irrefutably incorrect. While the basis for much of the conservative historians argument has been seen as flawed, or otherwise seriously questioned in terms of accurate and reliable history, the construct of ‘Roman copies’ of Greek originals has remained a legitimised understanding and interpretation of Roman art for centuries. The question can then be raised as to whether the attention given to this aspect of history is worth the fact that much of the history being taught is now being heavily questioned.
Pompeii was destroyed by an eruption that came from Mount Vesuvius in 79 A.D. Pompeii was located in southwestern Italy, where about 20,000 people lived. The people who originally settled the area were Oscan. However, rich Romans lived there in a villa or a farm. Pompeii had no electricity, so they had to rely on the sun for electricity and heat. The temperature was conducive to growing crops. Pompeii was one of the richest cities in the Roman Empire. (“Ancient Rome for Kids: The City of Pompeii;” Cartwright).
On February 6, 1918, Gustav Klimt died of pneumonia just a month after he suffered a stroke that paralyzed the right side of his body. Klimt was quoted as saying, “Whoever wants to know something about me – as an artist, the only notable thing—ought to look carefully at my pictures and try and see in them what I am and what I want to do.” If we follow his instruction, we will undoubtedly appreciate the passion and creativity he had for every genre of artistic expression. His talent proved limitless while pushing the norms of society and transforming and expanding his craft in ways that exceeded the expectations of all.
In the article “Conditions of Trade,” Michael Baxandall explains the interaction serving of both fifteenth- century Italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early Renaissance painting. Baxandall looks not only on the explanation of how the style of painting is reflected in a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the central focus on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. He observes a Renaissance painting, which relate the experience of activities such as preaching, dancing, and assessing. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies concepts used in contemporary critic of the painting, and in the assembled basic equipment needed to discover the fifteenth- century art. Therefore this introductory to the fifteenth- century Italian painting and arise behind the social history, argues that the two are interconnected and that the conditions of the time helped shape the distinctive elements in the artists painting style. Through the institutional authorization Baxandall looks at integration in social, cultural and visual evaluation in a way that shows not only the visual art in social construction, but how it plays a major role in social orders in many ways, from interaction to larger social structural orders.
The Italian Renaissance and the Baroque era are two major periods in art history, some of the types of art in those periods were painting, sculpting, and architecture. During these periods, many artist gained enormous fame from creating wonderful pieces of work that represented their beliefs and artistic thinking. This essay will analyze and evaluate two pieces from those major art periods. Rembrandt 's painting The Anatomy Lesson of Dr. Nicolaes Tulp and the sculpture David, by Michelangelo. These two masterpieces shed light of their significance in art history. David represents the Italian Renaissance for it being a strong symbol of the new republic, The Anatomy Lesson of Dr. Nicolaes Tulp depicts the focus on human progression.
...ws the transition from archaic to the classical period. The Roman’s continued with a more realistic style with such statues as Aristocrat with Ancestors and Marcus Aurelius. In wall paintings at Pompeii the artists used great color and realism on the people’s faces.
Additionally, the styles changed; from Rococo, which was meant to represent the aristocratic power and the “style that (…) and ignored the lower classes” (Cullen), to Neoclassicism, which had a special emphasis on the Roman civilization’s virtues, and also to Romanticism, which performs a celebration of the individual and of freedom. Obviously, also the subject matter that inspired the paintings has changed as wel...
Since the first prehistoric cave painting, and perhaps much before that, the human race has always used art as a form of expression. With the passing of each historical period came new technologies and techniques and were all influenced by the unique style, characteristics, and social conditions of those periods. Even though, each period discovered new forms and unique styles of art most historical periods were influenced by an earlier period of history. In this essay, I will explore the relationship, style, and influences of the Renaissance and Baroque periods and will also compare and contrast a work of art from both periods to further explain the relationship between the two eras.