The document provides information about art from different time periods and locations:
- Roman art from 290 AD was diverse and embraced trends from across the vast empire, promoting widespread production. Artists copied, imitated, and innovated to create grand works, sometimes compromising quality.
- Traditional Thai art from 1450 was primarily Buddhist with Hindu influences, depicted in sculptures and paintings for temples and palaces, distinguished by subtle designs and symbols.
- The Paris Salon of 1833 had over 3,300 entries, three-quarters paintings and drawings. King Louis-Philippe used art to legitimize his new government, including works depicting French history.
The document provides information about art from different time periods and locations:
- Roman art from 290 AD was diverse and embraced trends from across the vast empire, promoting widespread production. Artists copied, imitated, and innovated to create grand works, sometimes compromising quality.
- Traditional Thai art from 1450 was primarily Buddhist with Hindu influences, depicted in sculptures and paintings for temples and palaces, distinguished by subtle designs and symbols.
- The Paris Salon of 1833 had over 3,300 entries, three-quarters paintings and drawings. King Louis-Philippe used art to legitimize his new government, including works depicting French history.
The document provides information about art from different time periods and locations:
- Roman art from 290 AD was diverse and embraced trends from across the vast empire, promoting widespread production. Artists copied, imitated, and innovated to create grand works, sometimes compromising quality.
- Traditional Thai art from 1450 was primarily Buddhist with Hindu influences, depicted in sculptures and paintings for temples and palaces, distinguished by subtle designs and symbols.
- The Paris Salon of 1833 had over 3,300 entries, three-quarters paintings and drawings. King Louis-Philippe used art to legitimize his new government, including works depicting French history.
The document provides information about art from different time periods and locations:
- Roman art from 290 AD was diverse and embraced trends from across the vast empire, promoting widespread production. Artists copied, imitated, and innovated to create grand works, sometimes compromising quality.
- Traditional Thai art from 1450 was primarily Buddhist with Hindu influences, depicted in sculptures and paintings for temples and palaces, distinguished by subtle designs and symbols.
- The Paris Salon of 1833 had over 3,300 entries, three-quarters paintings and drawings. King Louis-Philippe used art to legitimize his new government, including works depicting French history.
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Timeline Description of Art
The Romans ruled such a vast empire for so long that a summary of the art produced during that time period can only be brief and selective. Perhaps the most distinguishing features of Roman art are its diversity, the embrace of art Rome, 290 A.D. trends past and present from every corner of the empire, and the promotion of art to such an extent that it became more widely produced and more easily available than ever before. Roman artists copied, imitated, and innovated to produce art on a grand scale, sometimes compromising quality but on other occasions far exceeding the craftsmanship of their predecessors. Traditional Thai art is primarily Buddhist in nature, with Hindu elements and iconography incorporated. Almost all traditional Thai sculpture depicts images of the Buddha. Traditional Thai paintings typically include book illustrations Thailand, 1450 and painted ornamentation of structures such as palaces and temples. Thai art, architecture, and design are distinguished by their subtlety of design and form, as well as their extensive use of symbols, amulets, mystical drawings, and both public and private statuary. The Napoleonic expositions Paris 1801 The national resolve to strengthen French industry, to make it equal or superior to the productive power of all other nations – particularly England's – drove all three Napoleonic expositions. Paris, 1801 The open rivalry with British industry, so vehemently declared by Neufchâteau in 1798, (1) would remain a dominant force in French expositions up to and including the exposition universelle of 1867. The Napoleonic expositions, like their predecessor in 1798, were viewed as a series of contests by French leaders: not exactly wars, but displays of strength proclaiming France's ability to compete in military and economic struggles. Salon de 1833 The 1832 Salon was cancelled because of a cholera outbreak in Paris. There were 3, 318 entries in the 1833 livret, of which over seventy-five percent were Paris, 1833 paintings and drawings. Louis-Philippe moved quickly to engage the visual arts in the service of/to legitimize his new government. Among other projects, he created the Museum of French History in the former royal palace at Versailles for the display of works by contemporary artists that represented French historical events and major figures from Late Antiquity to the present. Vernet’s painting of Louis-Philippe leaving the Palais-Royal to accept the kingship at the Paris town hall (Hôtel de Ville) is an early example. Louis- Philippe also allowed/tolerated the veneration of Napoléon as evidenced in the allegorical painting, Napoléon the Lawmaker, exhibited by Jean-Baptiste Mauzaisse (below; Musée National du Château, Malmaison). Childe Hassam, Flags, Fifth Avenue, 1917 This scene of Fifth Avenue by American Impressionist Childe Hassam was one of 30 such images showing the flag-bedecked thoroughfare during World New York, 1917 War I. The canvas captures the dynamic verve of New York just as the country began its ascent to superpower status. Burt Glinn was one of the most prolific photographers of the postwar period. His wide range of political and cultural interests and his consistent ability to obtain excellent photographs for any assignment have earned him the moniker New York, 1949 the “editor’s photographer”. Pictured here, New York’s Museum of Modern Art, 1949.
The Venice Biennale is an indecipherable, anachronistic, reassuring event; a
19th-century exhibition model of dynamic Modernism, designed after the first international World Fairs of Crystal Palace, Paris and New York, nestling Venice, 2005 inside a largely unchanged medieval city structure. Its untidy cluster of national pavilions sits inside the Giardini like a McLuhanesque global village: a city within a former city–state.