Just a quick post today. I'm off to Ohio to visit the couple I told you about yesterday (with the baby on the way). I'll post on Monday but it will be a bit a later in the day than usual.
Before I leave, though, I want to draw your attention to the new links I've added to the side bar. Gurney Journey and Lines and Colors are both great blogs about art and artists. Also, please note that Peter has begun a new blog that allows him to post his fantastic photos in a larger format.
Check out these blogs and I'll be back on Monday. Have a great weekend!
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Friday, March 28, 2008
Thursday, March 27, 2008
Book Review: Windows to Color by Julie Aigner-Clark
A couple that I’m friends with is getting ready for the arrival of their first child. You’ve probably noticed that I like art and that I think it’s important for kids to learn about art so, me being me, I set out to create the perfect gift basket of art for this baby-to-be. In my search, I came across a fantastic board book that I thought might be of interest to some of you readers.
If you’ve had a baby recently, are preparing to have a child, are an older brother or sister to a baby, or know someone with a young child, you’ve probably seen the “Baby Einstein” products put out by Disney. For that matter, if you’ve watched T.V. lately you’re probably seen commercials for “Baby Einstein” products. I am very impressed. I must tell you about this book I found called Windows to Color written by Julie Aigner-Clark and illustrated by Nadeem Zaidi. It introduces kids 9 months and older to color, using master works of art as examples.
First you see the painting, then you turn the page and find the name of the color written in large letters with examples of objects that are that color. There is a little window (the shape of which varies throughout the book—a star, a heart, a circle, etc.) through which you can see where the featured color is used in the painting.
Van Gogh’s fields of yellow wheat are shown opposite yellow ducklings. A Degas painting, along with a basketball, illustrate orange. Many of the most known and loved artists, from Marc Chagall to Gustave Klimt, are represented in this fantastic board book.
When I was shopping at the book store (where I bought a few more artsy board books that I’ll tell you about next week), the woman who helped me said that a lot of people seemed to be buying books as baby shower gifts. That comment was very uplifting. After all, what is more important than mind and spirit? Just a thought…
Return to main page.
If you’ve had a baby recently, are preparing to have a child, are an older brother or sister to a baby, or know someone with a young child, you’ve probably seen the “Baby Einstein” products put out by Disney. For that matter, if you’ve watched T.V. lately you’re probably seen commercials for “Baby Einstein” products. I am very impressed. I must tell you about this book I found called Windows to Color written by Julie Aigner-Clark and illustrated by Nadeem Zaidi. It introduces kids 9 months and older to color, using master works of art as examples.
First you see the painting, then you turn the page and find the name of the color written in large letters with examples of objects that are that color. There is a little window (the shape of which varies throughout the book—a star, a heart, a circle, etc.) through which you can see where the featured color is used in the painting.
Van Gogh’s fields of yellow wheat are shown opposite yellow ducklings. A Degas painting, along with a basketball, illustrate orange. Many of the most known and loved artists, from Marc Chagall to Gustave Klimt, are represented in this fantastic board book.
When I was shopping at the book store (where I bought a few more artsy board books that I’ll tell you about next week), the woman who helped me said that a lot of people seemed to be buying books as baby shower gifts. That comment was very uplifting. After all, what is more important than mind and spirit? Just a thought…
Return to main page.
Wednesday, March 26, 2008
Ancient Egyptian Art, Part 5- Fayum Portraits
In 30 BC the Romans took over Egypt. Of course, this affected Egyptians in many important ways, but I will only talk about how it changed Egyptian art. You have already read that Egyptians used art (paintings, carvings,and sculpture) to help them in the afterlife. You know that the art was not realistic but idealized and showed perfect bodies in perfect proportion. You have also read about how Akhenaten created his own art movement, called Amarna Art, which featured more realistic portraits.When the Romans took over, they brought a classical style of art with them. This can be seen in the mummy portraits that were found in the Fayum (notice the map) and, to a lesser degree, throughout Egypt.
At first portraits were painted during a person’s life and then, after death, attached to the mummy. Later portraits were only created after a person died.The portraits showed only the face and possibly the shoulders. The person always faced forward, which is different from other Egyptian art in which people always faced sideways. You’ll notice the big, open eyes and the fancy clothes worn in the portraits. Many even showed jewelry and flowers.
A portrait was painted on a wood panel and tucked into the wrappings of the mummy. The portrait’s face was lined up with where the person’s real face was.If you compare the Fayum Portraits with artwork from earlier Egypt, I think you’ll see a huge difference. There’s not much more I can say that you won’t notice by looking at the two paintings below.
That’s it for Egyptian art (for now, anyway). Check back tomorrow for something new.Return to main page.
Tuesday, March 25, 2008
Ancient Egyptian Art, Part 4- Amarna Art
So far you have read about the paintings, carvings, and sculpture of ancient Egypt. In the art you have seen so far, people were always shown in perfect shape and health. The men looked muscular and masculine. Also, the art followed a formula so that the people were always in the right proportion.
During the Eighteenth Dynasty, Akhenaten (the pharaoh at the time) started a new art movement. We call it the Amarna Period. During the Amarna Period, the pharaoh, his family, and the people of Egypt were shown in a more realistic way.
In all types of art (paintings, carvings, sculpture), the pharaoh (and others) was shown with a long, thin face and a round skull. His chin always stuck out and his eyes were almond-shaped. He had a feminine round belly and wide hips. The pharaoh’s wife was shown in much the same way. It can sometimes be difficult to tell them apart.
Akhenaten was often shown with his daughters. In the artwork, he played with them and showed them affection. This kind of behavior was never shown in art during the other dynasties. Pharaohs thought it made them look weak so they didn’t want anyone to see that side of themselves. They were supposed to look like strong warriors. Akhenaten didn’t think the people of Egypt would think he was weak if he played with his children and loved his family so he wasn’t afraid to have artwork show it.
You’ll also notice that the sun is shown in many of the images of the pharaoh. That is the sun god, Aten. He is shown as a disc with many rays. The rays have hands that reach toward the pharaoh, surrounding Akhenaten in warmth and protection. Aten is the only god shown in art of the Amarna Period.
When the Eighteenth Dynasty ended, Egyptian art reverted back to what it had been before Akhenaten.
During the Eighteenth Dynasty, Akhenaten (the pharaoh at the time) started a new art movement. We call it the Amarna Period. During the Amarna Period, the pharaoh, his family, and the people of Egypt were shown in a more realistic way.
In all types of art (paintings, carvings, sculpture), the pharaoh (and others) was shown with a long, thin face and a round skull. His chin always stuck out and his eyes were almond-shaped. He had a feminine round belly and wide hips. The pharaoh’s wife was shown in much the same way. It can sometimes be difficult to tell them apart.Akhenaten was often shown with his daughters. In the artwork, he played with them and showed them affection. This kind of behavior was never shown in art during the other dynasties. Pharaohs thought it made them look weak so they didn’t want anyone to see that side of themselves. They were supposed to look like strong warriors. Akhenaten didn’t think the people of Egypt would think he was weak if he played with his children and loved his family so he wasn’t afraid to have artwork show it.You’ll also notice that the sun is shown in many of the images of the pharaoh. That is the sun god, Aten. He is shown as a disc with many rays. The rays have hands that reach toward the pharaoh, surrounding Akhenaten in warmth and protection. Aten is the only god shown in art of the Amarna Period.When the Eighteenth Dynasty ended, Egyptian art reverted back to what it had been before Akhenaten.
EDITED TO ADD: Part 5- Fayum Portraits
Monday, March 24, 2008
Ancient Egyptian Art, Part 3- Sculpture
The sculpture of the ancient Egyptians followed many of the same strict rules as the paintings and carvings. Since most of the sculptures showed pharaohs or gods and were expected to help in the afterlife, it makes sense that the Egyptians would take the art form seriously.
Sculptures never showed illness. They never showed injury or deformity. These things had no place in the afterlife which was supposed to be just like life—if things were always perfect. The sculptures usually showed the pharaoh, sometimes with animal-formed gods, sometimes with family, sometimes holding offerings to the gods. The pharaoh always wore a peaceful expression and stood (or sat or knelt) in a confident pose that made him look young and strong.
The sculptures were also very well finished and perfectly polished. In the 1000s BC, the power of the pharaohs weakened and the quality of the statues worsened. The sculptures were still pretty spectacular (and huge), and the quality of the early centuries of Egyptian sculpture eventually returned.
Because the sculptures of rulers were often several stories tall, scaffolding had to be used. The Egyptians tied sturdy reeds together to create wide ladders. The sculptors could stand on the ladders to reach the middles and tops of the sculptures. Using chisels and wooden mallets, teams of sculptors chipped away at blocks of stone to create sculptures.
Other sculptors then worked on smoothing out the stone. They created sandpaper by pressing sand between a rock and the sculpture. The sculptor would rub until the sand had all fallen away, then added more and continued. You can imagine that this would take a long time if only one person worked on it. This is one reason why Egyptian sculptors worked in teams.
When the sculpture is smooth and perfect, the sculptors carved the name of the pharaoh into the back of the sculpture.
There were, of course, smaller sculptures made for the tombs of other Egyptians, but they weren’t as large or well-finished as those created for the pharaoh.
More Egyptian art to come! Check back tomorrow.
Sculptures never showed illness. They never showed injury or deformity. These things had no place in the afterlife which was supposed to be just like life—if things were always perfect. The sculptures usually showed the pharaoh, sometimes with animal-formed gods, sometimes with family, sometimes holding offerings to the gods. The pharaoh always wore a peaceful expression and stood (or sat or knelt) in a confident pose that made him look young and strong.
The sculptures were also very well finished and perfectly polished. In the 1000s BC, the power of the pharaohs weakened and the quality of the statues worsened. The sculptures were still pretty spectacular (and huge), and the quality of the early centuries of Egyptian sculpture eventually returned.Because the sculptures of rulers were often several stories tall, scaffolding had to be used. The Egyptians tied sturdy reeds together to create wide ladders. The sculptors could stand on the ladders to reach the middles and tops of the sculptures. Using chisels and wooden mallets, teams of sculptors chipped away at blocks of stone to create sculptures.Other sculptors then worked on smoothing out the stone. They created sandpaper by pressing sand between a rock and the sculpture. The sculptor would rub until the sand had all fallen away, then added more and continued. You can imagine that this would take a long time if only one person worked on it. This is one reason why Egyptian sculptors worked in teams.
When the sculpture is smooth and perfect, the sculptors carved the name of the pharaoh into the back of the sculpture.There were, of course, smaller sculptures made for the tombs of other Egyptians, but they weren’t as large or well-finished as those created for the pharaoh.More Egyptian art to come! Check back tomorrow.
EDITED TO ADD: Part 4- Amarna Art, Part 5- Fayum Portraits
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