Yun Zhang Renaissance Art in Context Dec.13th. 2012 FA231 Professor Stephanie Leone Virgin and child with lilies Italian (Florence) about 1460–70 Luca della Robbia Overall: 48 x 38cm (18 7/8 x 14 15/16in.) Glazed terracotta Classification: Sculpture Type: Relief Museum of Fine Arts‚ Boston Virgin and child with lilies Italian (Florence) about 1460–70 Luca della Robbia Overall: 48 x 38cm (18 7/8 x 14 15/16in.) Glazed terracotta Classification: Sculpture
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Sound: The zauerli continues-the key clinks against the statue. Dominant and Subsidiary Contrast: The statue remains the dominant. The Student and her key are the subsidiary contrasts. Movement: The Student takes a key from her pocket‚ moves right to left and places it on the statue base. Character Proxemics and Position: Social‚ personal‚ intimate as the Student moves to the statue‚ then places her key on it. Camera Movement: Stationary. Camera Angle: Eye level. Lens: Wide angle. Depth of Field:
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A statue that came as a result of a joint effort between the French and the Americans‚ and is a symbol today for enlightenment and freedom is what we now call today the Statue of Liberty. Artist Frédéric Auguste Bartholdi and Alexandre Gustave Eiffel were the people responsible for the statue. Frederic Auguste Bartholdi was the one to design the statue around 1876 to commemorate the American Declaration of Independence. Another name for the statue is the Mother of exiles who welcomed a plethora
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as religious authority were portrayed within the skilled‚ meticulous manner in which many paintings and sculptures were produced. A sculpture‚ entitled Virgin and Child‚ created by a follower the Master of the Dangolsheimer Madonna‚ exemplifies the popularity of religiously based artwork of the time‚ particularly of the Virgin Mary and the child Christ‚ as well as the shared techniques of the Northern Renaissance. Although much of the art created within the Northern Renaissance was unclearly intended
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dawn of age. Whether it be how hunt for food‚ make weapons‚ or even construct the things around us‚ we are living in a very advanced society. While all these things may be true‚ we still borrow numerous ideas from these so called archaic societies. Statues used for decoration now were used for worship then yet still hold very similar structures. Long ago relief was one of not many techniques to create art and yet is still used commonly today. Even the architecture in our homes and public buildings is
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The piece I have chosen is entitled the Steleophorus Statue. It is from Dynasty 18‚ Reigns of Tuthmosis III and IV from around 1479 to 1390 BCE. The statue depicts a male figure that is kneeling. He is also holding part of a large stela rising to his chin while placed on his knees with hieroglyphic writing on it that has damaged and worn over time. The most prominent destruction is seen on the left side where a large chunk of the tablet has been broken off. In addition to the fragmented stela‚ much
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The city has voted and discussed the removal of statues because they want them gone. The article shows that
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THE STATUE OF LIBERTY The Statue of Liberty by award-winning documentarian Ken Burns is only one hour long‚ but is one of the most powerful films that I have ever watched. It’s a part of a series that Burns has done entitled “America.” Because our society today is struggling with how to respond to refugees and how to uphold the values that the Statue represents‚ the film really resonated with me. I chose the film to study the way that Burns uses archival imagery and narration‚ but the film is
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At one point in time it was believed that there were multiple equestrian statues during the time before the Christianization of Rome. The equestrian statues were created as a representation of their imperial leaders. The Equestrian Statue of Marcus Aurelius created around 173-176 C.E and located in Musei Capitolini‚ Rome‚ Italy is the only surviving equestrian statue from that era. The Equestrian Statue of General “Mad” Anthony Wayne‚ located in Freimann Square in Fort Wayne‚ Indiana and created
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selected is “Statue of a Lion” and has the accession number AO 19520‚ AO 19824. "Statue of a Lion” originated from Mari; however‚ it is currently housed in The Louvre. Showcased in the piece I have chosen are characteristics that aid classifying this object as a 2nd millennium B.C. Mesopotamian art. Characteristics that support its classification are the physical features‚ purpose‚ and comparanda works. Damaged artifacts can appear to have diminutive value‚ this mind frame is obsolete. “Statue of a Lion”
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