Students apply the analytical skills that they use when reading literature to an exploration of the underlying meaning and symbolism in Hieronymous Bosch's early Renaissance painting "Death and the Miser".
Anavysos Kouros, c. 530 B.C.E., marble, 6' 4" (National Archaeological Museum, Athens). Speakers: Dr. Steven Zucker & Dr. Beth Harris. Created by Beth Harris and Steven Zucker.
A conversation with Lisa Ackerman, World Monuments Fund, and Beth Harris, Smarthistory. Created by Beth Harris and Steven Zucker.
A conversation with Lisa Ackerman, World Monuments Fund, and Beth Harris, Smarthistory. Created by Beth Harris and Steven Zucker.
Conservators at the British Museum preparing an ancient Egyptian coffin for display in the exhibition Journey through the afterlife: ancient Egyptian Book of the Dead. © Trustees of the British Museum. Created by British Museum.
Preparing pieces of papyrus ready for display in the exhibition Journey through the afterlife: ancient Egyptian Book of the Dead. © Trustees of the British Museum. Created by British Museum.
From the Utah System of Higher Education (with special thanks to Dr. Nancy Ross). Video by Ydraw. Created by Nancy Ross.
Ancient Greek Temples at Paestum: Hera I, c. 560-530 B.C.E., Archaic Period; Hera II, c. 460 B.C.E., Classical Period; Temple of Minerva, c. 500 B.C.E. Archaic Period. A conversation with Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.
Used for the storage and shipment of grains, wine, and other goods, as well as in the all-male Greek drinking party, known as the symposium, ancient Greek vases were decorated with a variety of subjects ranging from scenes of everyday life to the tales of heroes and gods. The two most popular techniques of vase decoration were the black-figure technique, so-named because the figures were painted black, and the red-figure technique, in which the figures were left the red color of the clay. The black-figure technique developed around 700 B.C. and remained the most popular Greek pottery style until about 530 B.C., when the red-figure technique was developed, eventually surpassing it in popularity. This video illustrates the techniques used in the making and decorating of a black-figure amphora (storage jar) in the Art Institute of Chicago's collection. This video was produced with the generous support of a Long Range Fund grant provided by the Community Associates of the Art Institute of Chicago. It was created for LaunchPad, a program of digital interpretive materials that supplement the viewing of works of art on display in the Art Institute of Chicago's galleries. Created by Getty Museum.
Used for the storage and shipment of grains, wine, and other goods, as well as in the all-male Greek drinking party, known as the symposium, ancient Greek vases were decorated with a variety of subjects ranging from scenes of everyday life to the tales of heroes and gods. The two most popular techniques of vase decoration were the black-figure technique, so-named because the figures were painted black, and the red-figure technique, in which the figures were left the red color of the clay. The black-figure technique developed around 700 B.C. and remained the most popular Greek pottery style until about 530 B.C., when the red-figure technique was developed, eventually surpassing it in popularity. This video illustrates the techniques used in the making and decorating of a black-figure amphora (storage jar) in the Art Institute of Chicago's collection. This video was produced with the generous support of a Long Range Fund grant provided by the Community Associates of the Art Institute of Chicago. It was created for LaunchPad, a program of digital interpretive materials that supplement the viewing of works of art on display in the Art Institute of Chicago's galleries. Created by Getty Museum.
Early in the Spring 2020 semester, University of Tennessee at Chattanooga students in my Ancient to Modern Latin American Visual Culture Art History course embarked upon an intensive first-hand visual analysis and research project that involved working directly with original artifacts from Ancient Latin America housed within the University of Tennessee at Chattanooga Library’s Special Collections. This unique opportunity and the publication of their findings were made possible thanks to the generous support and assistance of Special Collections Director Carolyn Runyon and her dedicated staff.
By examining the wide array of Pre-Columbian objects in the George and Louise Patten Salem Hyde Papers and Cultural Artifacts Collection, these upper division students formed small research groups dedicated to specific artifact types, such as human figurines, animal figurines, tools and lithics, vessels, anthropomorphic ceramics, replicas, and sherds. They carefully recorded their original observations of their selected objects of study in written field notes, photographs, and drawings. Later, they compared their initial observations with preliminary collection data developed independently by Archaeology students of Dr. Andrew Workinger, leading to further questions and insights surrounding these extraordinary pieces predominantly from pre-contact indigenous cultures of the Central and Intermediate regions of Latin America that today comprise Costa Rica, Ecuador, Panama and Colombia. Building upon their analysis, the Art History student research groups then re-examined their selected artifacts through analytical frameworks focused on Gender and the Body, Color, Pattern and Materiality, Spirituality and the Object, Form and Function, and Identity and Representation. In presenting their findings to their peers, students received feedback that allowed them to refine their analysis and develop the original individual and group catalog essays that comprise this exhibition publication. Their research sheds further light on the extraordinary value and diversity of the ancient artifacts of Latin America that uniquely form part of UTC’s Special Collections, as well as the innovative power of interdisciplinary research and collaboration.
Thebes, the city of the god Amon, was the capital of Egypt during the period of the Middle and New Kingdoms. With the temples and palaces at Karnak and Luxor, and the necropolises of the Valley of the Kings and the Valley of the Queens, Thebes is a striking testimony to Egyptian civilization at its height.
A video from The Art Institute of Chicago. Created by Getty Museum.
Andrea Mantegna, San Zeno Altarpiece, 1456-59, oil on panel, 212 x 460 cm / 83 x 180 inches, comissioned by the Benedictine Abbot, Gregorio Correr (Basilica of San Zeno, Verona). Created by Beth Harris and Steven Zucker.
Andrea Pisano, Reliefs for the Campanile in Florence, c. 1336 Speakers: David Drogin and Beth Harris. Created by Beth Harris and Steven Zucker.
Anishinaabe, possibly Mississauga Ojibwa, Shoulder bag (missing strap), c. 1800, tanned leather, porcupine quills, dye, glass beads, silk ribbon, metal cones, and deer hair, Possibly made in Ontario, Canada; possibly made in Michigan, United States; possibly made in Wisconsin, United States, 30.5 × 22.9 cm (The Metropolitan Museum of Art). Created by The Metropolitan Museum of Art.
This series of lessons provides an overview of what is a postage stamp and its history within Canada. Students then learn about the life and art of the Alberta artist Annora Brown. Nearly 200 of her wildflower paintings are held by the Glenbow Museum in Calgary.Once students know more about stamps and the art of Annora Brown, they may create their own postage stamps. Secondly, they learn about writing persuasive letters and are asked to write to the Canada Post Office requesting a series of stamps based on the wildflower paintings of Annora Brown.
Ansel Adams talks about seeing and feeling photography. Created by Getty Museum.
The conservator’s eye: Anselm Kiefer, Bohemia Lies by the Sea, 1996, oil, emulsion, shellac, charcoal, and powdered paint on burlap, 75 1/4 in. × 18 ft. 5 inches / 191.1 × 561.3 cm (The Metropolitan Museum of Art). Speakers: Corey D'Augustine and Steven Zucker.
Video by San Francisco Museum of Modern Art. Surrounded by his paintings in SFMOMA’s galleries, German artist Anselm Kiefer describes the challenges and significance of exploring the past in his work. He highlights the subjective, emotional nature of both history and art. Created by Smarthistory.