By Laurie Adams
Acceptable for one-semester paintings heritage surveys or historically-focused artwork appreciation periods, A heritage of Western Art, 5th variation, combines sound scholarship, lavish visuals, and a full of life narrative to supply scholars with an available and fascinating advent to artwork heritage. targeting the Western canon, the textual content provides a compelling chronological narrative from prehistory to the current. A non-Western complement, World perspectives: subject matters in Non-Western Art, addresses particular components of non-Western artwork and augments the Western chronology via illustrating moments of thematic relationships and cross-cultural touch.
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1). A vertical line seems to stand stiffly at attention, a horizontal line lies down, and a diagonal seems to be falling over. Zigzags have an aggressive, sharp quality, whereas a wavy line is more graceful and, like a curve, more naturally associated with the outline of the human body. Parallel lines are balanced and harmonious, implying an endless, continuous movement. Perpendicular, converging, and intersecting lines meet and create a sense of force and counterforce. 1, the thin line (a) seems delicate, unassertive, even weak.
Architecture is more functional, or utilitarian, than pictures and sculptures. The criteria for a successful building are not only whether it looks good, but also whether it fulfills its function well. A hospital, for example, may be aesthetically pleasing, but its ultimate test is whether it serves the patients and medical staff adequately. A medieval castle was not only a place to live, but also a fortress requiring defensive features such as a moat, towers, small windows, and thick walls. Beyond function, the next most important consideration in architecture is its use of space.
8) by the Swiss artist Meret Oppenheim (1913–85). When we experience the formal qualities of texture in these two sculptures, we respond to the Bird from a distance, as if it were suspended in space, as the title indicates. But the Cup evokes an immediate tactile response because we think of drinking from it, of touching it to our lips, and its furry texture repels us. At the same time, however, the Cup amuses us because of its contradictory nature. Whereas our line of vision soars vertically with the Bird, we instinctively withdraw from the Cup.