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The History of Art:  Introductory Unit ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
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[object Object],After the project "Umbrellas" Christo and Jeanne-Claude concerned themselves with veiling the Reichstag in Berlin. With the support of the parliamentary speaker, Rita Süssmuth, the Christos worked to convince the Members of Parliament, going from office to office, writing explanatory letters to each of the 662 delegates and innumerable telephone calls and negotiations. On February 25, 1995 after lengthy discussions the Bundestag allowed the project to go ahead. More than 100,000 square meters of fireproof polypropylene fabric, covered by an aluminum layer, and 15 km of rope were needed. Veiling began on 17 June 1995 and was finished on 24 June. The spectacle was seen by five million visitors before the unveiling began on July 7.
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The Judgement of Paris Peter Paul Rubens 1635-8
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[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
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Political Intentions in Dada and Surrealist Art: (Grosz, Dix, Hoch, Heartfield, Oppenheim)
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Before my birth, 1914 ,[object Object],[object Object],[object Object],[object Object],[object Object]
‘ Forest’ 1916 ,[object Object],[object Object],[object Object],[object Object]
‘ According to the laws of chance’ 1920 ,[object Object],[object Object],[object Object],[object Object],[object Object]
Birds in an aquarium, c 1920 ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
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Dada Group posing for photo
 
 
Marcel Duchamp  French born artist and theorist) 1887 - 1968 "If it's not shocking, it's not worth doing..." The Creative Act: "Let's consider two important factors, the two poles of the creation of art: the artist on one hand, and on the other, the spectator who later becomes the posterity." "...it's the posthumous spectator, because the contemporary spectator is worthless, in my opinion. His is of minimum value compared to that of posterity, which, for example, allows some things to stay in the Lourve."
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SHGC - History of Art - Part 1

  • 1.
  • 2.
  • 3.
  • 4.
  • 5.
  • 6. The Judgement of Paris Peter Paul Rubens 1635-8
  • 7.
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  • 9.
  • 10.
  • 11.
  • 12.
  • 13.
  • 14.
  • 15.
  • 16.
  • 17.
  • 18.
  • 19.
  • 20.
  • 21.
  • 22.
  • 23.
  • 24.
  • 25. Political Intentions in Dada and Surrealist Art: (Grosz, Dix, Hoch, Heartfield, Oppenheim)
  • 26.
  • 27.
  • 28.
  • 29.
  • 30.
  • 31.
  • 32.
  • 33.
  • 34.
  • 35.
  • 36.
  • 37. Dada Group posing for photo
  • 38.  
  • 39.  
  • 40. Marcel Duchamp French born artist and theorist) 1887 - 1968 "If it's not shocking, it's not worth doing..." The Creative Act: "Let's consider two important factors, the two poles of the creation of art: the artist on one hand, and on the other, the spectator who later becomes the posterity." "...it's the posthumous spectator, because the contemporary spectator is worthless, in my opinion. His is of minimum value compared to that of posterity, which, for example, allows some things to stay in the Lourve."
  • 41.
  • 42.
  • 43.
  • 44.
  • 45.
  • 46.
  • 47.  
  • 48.
  • 49.
  • 50.