TTC VIDEO - Art Across the Ages by Ori Z. Soltes Part 2 of 2
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TTC VIDEO - Art Across the Ages by Ori Z. Soltes Part 2 of 2
URL: http://www.teach12.com/ttcx/coursedesclong2.aspx?cid=7150
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Art across the Ages
(48 lectures, 30 minutes/lecture)
Course No. 7150
Taught by Ori Z. Soltes
Georgetown University
Ph.D., Union Institute and University
All visual art speaks—sometimes in a voice stirred by passion or afloat with tenderness, sometimes in an angry shout, sometimes in a soft whisper. It may speak to the person viewing it, to the artists who share its time in history, or to those who will not come until much later. And its message may lie as much in what is not said as in what is.
No matter what form visual art takes—as symbolic images carefully drawn on a cave wall, thick colorful oils on wood or canvas, cold stone carved and crafted into an intricate form, or tonal qualities of a single black-and-white photograph—a single constant remains:
Art speaks, and to be able to understand its language is to be privy to an artistic conversation thousands of years old—a conversation that will lead you to a better understanding not only of art but also of the time in which it was created and the humans who created it.
Satisfying as a Survey, Essential as an Introduction
In Art across the Ages, Professor Ori Z. Soltes has crafted a course in Western visual art that serves as both a mind-broadening survey and an essential introduction. It is designed to give anyone interested in Western art a firm familiarity with its basics, acquainting you with major artists and styles in various media and providing a broad foundation for deeper exploration.
By giving you a ready grasp of the substance and significance of a vast range of artists and their work, along with a solid knowledge of how those artists and their work fit within art\\\'s continuum, the course will add immeasurably to your next visit to a museum or exhibition, or simply enhance your pleasure in the art you encounter in your life.
Have you ever regretted not having the time to take an art appreciation course in college and wished you could somehow gain the knowledge you missed? Or wondered, even if you did take such a course, how much more your years of experience and maturity would have enhanced your appreciation of art\\\'s creative wonders? Or would you like to simply indulge yourself in a feast for the eyes and mind, enjoying more than 800 images of the Western world\\\'s glorious heritage of painting, sculpture, architecture, and other examples of art\'s constantly evolving definition?
[bArt across the Ages[/b] is a course that will satisfy on all those counts. And although it is certainly not a prerequisite for any Teaching Company art course you may choose in the future, it can be tremendously useful in helping you make your choices because it will give you a firm contextual grasp on where those future courses fit into both the history of Western visual art and your own aesthetic interests.
Professor Soltes covers the wide range of media that have defined visual art throughout Western art history: painting, sculpture, architecture, the decorative arts, photography, drawing, mixed media, assemblage, and installation art.
He considers those categories from the perspectives of chronological sweep and broad geographic and cultural context, such as the influence of religion—including the Reformation and Counter-Reformation—on art, the role of Jewish art in an artistic world focused on Christianity, or the impact of war and politics on artists and their choices of subjects. And he also looks at aspects of style, subject, and symbol that touch—or are touched by—artistic activity beyond the West, such as that from Asia, Africa, the Middle East, and Central and South America.
Learn How Art Has Echoed the Human Experience
Throughout these lectures, Professor Soltes is attentive to what he calls \\\"the ever-present tension between continuity and transformation, between the carrying of a visual idea forward and altering aspects of that idea,\\\" permitting us to \\\"reflect on the ways visual art has echoed the human experience and has refracted human intelligence and creativity across the ages.\\\"
The history of Western art, he adds, \\\"is a compendium, a sweeping compendium, of conceptual, philosophical, and theological issues ... of ... political, religious, and social issues interwoven with aesthetic and formal issues.
\\\"Western art folds all of this together into a rich history of continuity in dialogue with transformation, as we see throughout this history artist after artist engaged in vision and re-vision, both with respect to other works of art and with respect to the world around us. Western art expresses our struggle to define ourselves, to define the worlds around us and those perhaps beyond us, expressing our reflections on and our relationship to both worlds as we move through the millennia.\\\"
Professor Soltes is the ideal teacher for this course. His remarks range across every aspect of art and come at us from many directions as appreciators of art, calling on us to perceive the riches of art visually as well as intellectually and culturally. With training in philosophy, classics, and interdisciplinary studies, Professor Soltes has held positions as scholar, museum and exhibition curator, documentary narrator, author, and teacher and lecturer at more than 20 universities and museums throughout the country.
The result is a course that constantly stretches you, often going to unexpected places to reveal aspects of a work\\\'s background—sometimes harrowing, sometimes humorous—you may never have suspected.
A Famous Painting\'s Chilling Inspiration
For example, one of the most astonishing images in art history is a painting by Artemisia Gentileschi, Judith Beheading Holofernes, inspired by a famous earlier painting by Caravaggio of the same Biblical subject—the slaying of an Assyrian general who was besieging Jerusalem. Caravaggio\\\'s version was considered startling in its direct treatment of the gory event, but the version painted by Artemisia, one of the most important painters of the early 17th century, is even more so. Caravaggio has his Judith leaning backward, almost reluctant to be involved in the brutal task her sword is performing. Artemisia\\\'s Judith, however, shows no such reluctance; her left hand grips her victim\\\'s head while her right wields the sword, and her face shows only a determined satisfaction as she cuts, unconcerned with the blood that runs down the sheets.
Was the difference in the two presentations of Judith only a matter of artistic choice? The answer may lie in a bit of history from Artemisia\\\'s own life. Not long after coming to Naples, she became a student—and rape victim—of one of her father\\\'s colleagues and was tortured for her testimony by the court that tried the case.
In a lighter story illuminating the varied sources of an artist\\\'s inspiration, Professor Soltes recalls a recurring episode from the childhood of renowned architect Frank Gehry, whose many unusual buildings include the world-famous Guggenheim Museum in Bilbao, Spain.
The museum is situated on the banks of the Nervion River, which flows through the center of the city, and it has been likened to a giant ship floating along that river, with exterior panels that glisten, deliberately, like fish scales.
Where might such an idea for a surface material have come from? Professor Soltes tells us about Gehry\\\'s Jewish grandmother, who would purchase a carp every Thursday and put it in the family bathtub until the time came to prepare the traditional gefilte fish for Saturday\\\'s dinner. It was to his time spent observing that carp, swimming in the bathtub, that Gehry traces the origins of the museum\\\'s fish-scale exterior!
Art, you see, can come from many sources, just as it makes many statements and evokes many emotions. Challenging, provocative, and eye-opening, Art across the Ages will enable you to discover those sources, explore those statements, and understand and appreciate those emotions.
Available Exclusively on DVD
Because of the visual nature of the subject matter, this course is available only on DVD. The course contains more than 1,100 images, including paintings, sculpture, and architecture and portraits of many of the artists.
About the Professor
Ori Z. Soltes
Georgetown University
Ph.D., Union Institute and University
Ori Z. Soltes is Goldman Professorial Lecturer in Theology and Fine Arts at Georgetown University and the former director and curator of the B’nai B’rith Klutznick National Jewish Museum in Washington, DC. He earned his B.A. in Philosophy from Haverford College, his M.A. in Classics from Princeton, and his Ph.D. in Interdisciplinary Studies from Union Institute and University.
Professor Soltes is the author of more than 130 articles, exhibition catalogues, essays, and books and is the writer, director, and narrator of more than 30 documentary videos. Among his most recent books are Fixing the World: Jewish American Painters in the Twentieth Century; Our Sacred Signs: How Christian, Jewish and Muslim Art Draw from the Same Source; and The Ashen Rainbow: Essays on the Arts and the Holocaust.
Professor Soltes has taught and lectured in more than 20 universities and museums nationally on subjects ranging from “Symbols of Faith: Art as an Instrument of Addressing God” to “The Body in Ancient Art.” Throughout the United States and overseas, he has guest-curated exhibitions that have focused on diverse aspects of Western art throughout the ages and art from across the world.
Course Lecture Titles
1. Continuity and Transformation—What Is Art?
2. Art as the Offspring of Religion
3. Preclassical Greek Art
4. Toward the Classical Athenian Moment
5. Beyond the Borders of Classical Greek Art
6. The Birth of the New—Hellenistic Art
7. Hellenistic, Etruscan, and Early Roman Art
8. Roman and Judaean Art
9. Early Christian Art and Its Progeny
10. The Beginnings of Jewish Art
11. Christian Medieval Art and Architecture
12. The Language of Romanesque and Gothic Art
13. Islamic Art from Abstract to Figurative
14. Jewish Medieval Art and Architecture
15. Early Renaissance Painting in Central Italy
16. 15th-Century Italian Renaissance Painting
17. Renaissance Painting beyond the Alps
18. Renaissance Sculpture—Toward Florence
19. Toward High Renaissance in Central Italy
20. High Renaissance in Central Italy
21. The Rebirth of Classical Dynamism
22. The Light of the Veneto
23. 16th-Century Northern European Painting
24. Transformation of People, Objects, Ideas
25. The Reformation and the Mannerist Crisis
26. Baroque Shadows—Venice to Madrid to Rome
27. Shadow and Light from Rome to the Lowlands
28. Northern Landscapes and Life Sweeps
29. The Counter-Reformation from Italy Outward
30. Revolutions in Spanish and English Painting
31. France\\\'s Gold and Silver Ages
32. Politics and Romanticism
33. From Realism to Impressionism
34. From Paris to the East
35. American Romantic Realism and Its Progeny
36. Fin de Siècle European Art Movements
37. Asia and Africa in the Western Mind
38. They All Came to Paris
39. Revolutions in Early 20th-Century Painting
40. Figuration and Abstraction—The Struggle
41. Developments in Sculpture—Rodin to Judd
42. New Worlds of Architecture—Wright to Hadid
43. The Edges of West and East
44. Art, Trauma, and Politics
45. Defining Modern Jewish Art
46. The Problem of Categories in Modern Art
47. The Explosion of Modernist Media
48. Art, Politics, and Religion from Era to Era
