Art History as an Academic Field

Art History as an Academic Field

Art history, the study of artistic developments and movements during different historical periods, has an academic perspective. One of the educational aspects of art history is the need for visual analysis of artistic objects and images (Dolšina, 2020). Such analysis requires training on

the different methodologies that could be used to analyze objects and images. Some of these methodologies have undergone a paradigm shift over time, hence the need to retain them for better outcomes. In essence, there is a need for academic training on how various visual art forms can be interpreted.

Besides, art history exhibits itself in the academic field through different literate forms. Literate forms involve a creator who creates the original content or object. It is incumbent upon the audience to interpret the art in different forms (Dolšina, 2020). Essentially, this means that audiences have the freedom to practice diversity as they seek to interpret art forms. Literate art can be in different forms, including music, photography, and paintings (Dolšina, 2020). For instance, artistic paintings have diverse meanings across cultures. These forms are transferred from one generation to the next through academic training. Certain musical types reflect social movements. For instance, jazz music reflects the Harlem Renaissance, a cultural movement in the 1920s. Such knowledge can only be transferred from one generation through academic training.

Human and Natural Threats to Artworks

One of the core threats to artworks is cyber-related theft and general theft. Such theft mainly affects those who keep their artifacts at home, with limited security. Take an example where an individual takes a picture of their artwork while at home and shares the photos on social media. That exposes the artwork to potential thieves idling on social media. If the individual who initially shared the photos of their artwork on social media travels and takes their pictures and posts them on social media, the potential thieves will notice that they are not at home. The thieves can then vandalize these homes and steal the works of art, aware that the owners are not at home. This phenomenon has been common among footballers whose silverware is stolen from their homes while playing.

Besides, the natural conditions in which artworks are kept may pose potential threats to the durability of the objects. For instance, humidity is a critical factor in preserving paintings in galleries. There is a need for stable, humid conditions in the galleries for paintings to last. A relative humidity of 50% is required to sustain them. Any percentage beyond a 3% deviation, above or below 50%, is likely to damage the paintings. Just like unstable humidity, the inconsistent temperature may also affect the artwork. In the galleries, the preferred temperature is 20°C. Anything 1°C below or above the acceptable level may potentially trigger a deterioration of paintings. Finally, the lux level- the brightness applied to the paintings to expose them should be balanced. It is universally accepted that images be kept in an environment with less light. A lux level below 50 is acceptable. In essence, to avoid natural conditions from damaging artworks, there is a need to monitor and regulate the conditions regularly.

One of the significant artworks destroyed through human intervention is King Tut’s beard. Museum workers accidentally broke the artwork in 2014. The beard detached from the mask due to unfavourable conditions, weakening it. Due to it being weak, it quickly separated from the mask when a minor accident occurred.

Construction of Megalithic Architecture

Megalithic architecture describes the application of large and primarily undressed stones to construct Stone Age monuments during the Neolithic period. The period referred to as the Neolithic period is from 4500-1000 BCE (Stout, 2002). During this period, infrastructure was constructed using one stone or many stones fitted together without cement or attachments. The megalithic architecture was used to construct rock art and ceremonial and ritualistic structures such as the Newgrange graves in Ireland (Stout, 2002). The designs used to construct this infrastructure were often complicated. Besides their undeniable uniqueness, megalithic structures were often decorated with Stone Age art.

Newgrange Stone Age Passage Tomb

Newgrange Tomb is located in Boyne Valley, Meath County, Ireland. The Stone Age infrastructure was constructed 5200 years ago, thus essentially making it older than the renowned Egyptian Pyramids (Stout, 2002). Newgrange Tomb is a mound with a stone passage and chambers inside it. The tomb is ringed with stones called kerbstones which are engraved in various artwork. Initially, the tomb was classified as a passage tomb, but it has, over time, proved its worthiness. The place is now viewed with astrological, religious, spiritual, and ceremonial significance. The tomb primarily consists of a mound made from alternating earth and stone layers. On the sidelines is a façade of white stones that alternate continually. The mound is 13 meters high and 85 meters across the circumference (Stout, 2002).

Tholos Tomb

On the other hand, the Tholos tomb in Greece is beehive-shaped. It assumes a conical and raised shape, just like the Newgrange tomb. It was created by constructing a round-shaped entryway leading into the chamber. Another similarity between the Tholos Tomb and the Newgrange Tomb is that both were built using stonework, which is alternatively placed on top of each other (Stokstad & Cothren, 2020). The only difference is that in the Tholos tomb, the spaces are filled, creating a vast underground chamber underground. Lastly, the Tholos tomb aligns with megalithic architecture since stonework dominates most of the structure.

Pantheon in Rome

The Pantheon in Rome is one of the most recognizable buildings in the city. It was constructed in 27 BCE, and it is among a few buildings in Rome City that have stayed intact to date. Like the above megalithic structures, the Pantheon in Rome has a vast opening that lets in

sunlight and rain. Conversely, the Pantheon in Rome lacks inscriptions characterized by ancient structures. Instead, it contains modern, raised bronze writings that can be easily deceptive. The surprising fact about the design is that people have yet to fathom its original purpose (Stokstad & Cothren, 2020). However, the word ‘Pantheon’ originates from a Greek term that means ‘devoted to all gods’, indicating that the structure has religious significance.

Florence Cathedral

The Cathedral of Florence is located in Florence, and it heavily relates to the Pantheon in Rome. Marbles dominantly cover it except for the façade in the building, which was later terminated. It is the largest church in Europe and was completed in the 15th Century (Stokstad & Cothren, 2020). The structure plays a host to significant art pieces in the interior, as multiple sculptures have been designed explicitly for the cathedral. Just like the Pantheon in Rome, the artwork in the building constitutes religious significance.

References

Dolšina, M. (2020). Educational role of art history as a school subject area in programmes of formal education in Slovenia: the aspect of vzgoja, according to general European guidelines. Journal of Education Culture and Society, 6(1), 227–241. https://doi.org/10.15503/jecs20151.227.241

Stokstad, M., & Michael Watt Cothren. (2020). Art, a brief history. Pearson.

Stout, G. (2002). Newgrange and the Bend of the Boyne (Vol. 1). Cork University Press.

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Directions:  Be sure to make an electronic copy of your answer before submitting it to Ashworth College for grading.  Unless otherwise stated, answer in complete sentences, and be sure to use correct English spelling and grammar.  Sources must be cited in APA format.  Your response should be four (4) pages in length; refer to the “Assignment Format” page for specific format requirements.

Art History as an Academic Field

Part A:  Briefly define art history as an academic field based on your understanding of the readings in the textbook Introduction. Next, discuss two of the natural and human threats to artworks that concern contemporary art historians. Provide specific examples of threats, the artworks involved, and how these threats affect art historians’ interpretation of the works. Your discussion should be based on the information in the textbook Introduction and throughout the textbook and lecture readings of the first four (4) lessons.

Part B: Explain the construction of megalithic architecture and dome building, tracing its history from pre-historic art to the Renaissance. Begin your discussion describing the architectural innovations of the tomb in Newgrange, Ireland and connect these innovations with subsequent examples of the Tholos tombs in Greece, to the Pantheon in Rome and conclude with the Florence Cathedral. Your discussion should include a definition of terms you use as defined in the textbook readings and demonstrate an understanding of the connections these buildings have in common.

Works of architecture to include in your Part B discussion:

1. Tomb, Newgrange, Ireland. c. 3000-2500 BCE. Located on page 29 in the textbook.
2. Interior of Tholos tomb, Mycenae, Greece. c. 1300-1200 BCE. Located on page 100 in the textbook.
3. Pantheon, Rome. 110-128 CE. Located on pages 148 and 149 in the textbook.
4. Filippo Brunelleschi, Dome of Florence Cathedral. 1420-1436 CE. Located on page 307 of the textbook.