Artwork Analysis of Different Artists - Thesis Example

and Number of the Teacher’s ARTWORK OF FIVE DIFFERENT ARTISTS Introduction Since the earliest times artistshave created artworks of different types, using various materials and methods. The great variety of works including paintings, prints, glazed ceramic pottery, and illuminated manuscripts with calligraphy, have been unique to the culture of each period, and to the distinctive creative style of the artists themselves. Five different pieces of artwork have been selected, from different artists who interpret their own time and culture through their work. The artworks have been accessed from the Metropolitan Museum of Art Website, and will be analyzed on the basis of art concepts, elements and other dimensions. Thesis Statement: The purpose of this paper is to present and analyze the following five artists and their artworks: Van Gogh’s Olive Orchard, 1889; Anton Raphael Mengs’ Apollo and the Muses on Parnassus, 1784; Pablo Picasso’s Le Repast Frugal, 1904; Mahmud al-Husaini’s Timurid Calligraphy dated 1411, and Lustre-painted bowl ca. 1000 by Muslim during the Fatimid period in Egypt. Discussion 1. Van Gogh’s Olive Orchard, 1889 Dutch post-impressionist artist Vincent Willem van Gogh (1853-1890) was a brilliant and innovative artist. He created haunting self portraits and landscapes in which colour was used in an expressive and emotive way (Williams & Parnell: 46). Upon his arrival at the asylum of Saint-Remy in spring 1889, the cultivated groves of olive trees near the walls of the sanatorium, became greatly significant for him (Metmuseum) . Provenance the artists brother, Theo van Gogh, Paris (1890–d. 1891; sent to him by the artist on January 3, 1890); his widow, Johanna van Gogh-Bonger, Amsterdam, in trust for their son, Vincent Willem van Gogh (1891–her d. 1925); Vincent Willem van Gogh, Amsterdam (1925–26; sold to A. Mak, Amsterdam, apparently as agent for Wildenstein, with Paul Rosenberg, Paris, as intermediary); [Wildenstein, New York, 1926–at least 1931; sold to Schuster]; Sir Victor Schuster, London (in 1939, perhaps at least as late as 1948; sale, Sothebys, London, July 26, 1939, no. 76, bought in for £4,000, by Carlson, apparently as agent for Schuster; probably sold to Feilchenfeldt); [Walter Feilchenfeldt, Zurich, bought in London in or after January 1948/before d. 1953, from either Schuster or Carlson; sold to Simon]; Simon, Switzerland (by 1953–d. 1953); his widow (sold on October 27, 1953, via Francart S.A., Zug, Switzerland, to Reid & Lefèvre); [Reid and Lefèvre, London, 1953–54; sold on May 11 to Salz]; [Sam Salz, New York, in 1954; sold on May 15 to Annenberg]; Walter H. and Leonore Annenberg, Rancho Mirage, Calif. (1954–98; jointly with MMA, 1998–his d. 2002) Exhibition History Amsterdam. Stedelijk Museum. "Tentoonstelling van Schilderijen en Teekeningen door Vincent van Gogh," July–August, 1905, no. 202. Rotterdam. Kunstzalen Oldenzeel. "Vincent van Gogh," January 26–February 28, 1906, no. 48. Copley Hall, Copley Society of Boston. "International Exhibition of Modern Art (The Armory Show)," April 28–May 19, 1913, no. 219 or 223. Art Institute of Chicago. "International Exhibition of Modern Art (The Armory Show)," March 24–April 16, 1913, no. 414 or 418. New York. Armory of the Sixty-ninth Regiment. "International Exhibition of Modern Art (The Armory Show)," February 17–March 15, 1913, no. 430 or 434. New York. Montross Gallery. "Vincent van Gogh," October 23–?, 1920, no. 49 or no. 54. New York. Wildenstein & Co., Inc.. "French Masters of the XIX Century," March–April, 1927, no catalogue. Detroit Institute of Arts. "Modern French Painting," May 22–June 30, 1931, no. 47. St. Louis. City Art Museum. "An Exhibition of Paintings & Prints by the Masters of Post-Impressionism," April 4–26, 1931, no. 36. Los Angeles Museum. "European Paintings by Old and Modern Masters: An Exhibition Arranged by Wildenstein and Company, Paris, London, New York," June 13–August 5, 1934, no. 17. Montreal. W. Scott & Sons. "French Paintings by the Impressionists and Modern Artists," December 1934, no. 16. London. Lefèvre Gallery. "French Paintings of the XIXth & XXth Centuries," August 7–29, 1942, no. 9. London. Lefevre Gallery (Alex Reid & Lefevre Ltd.). "Delacroix to Dufy: French Paintings of the 19th and 20th Centuries," June–July 1946, no. 55. Los Angeles Municipal Art Gallery. "Vincent van Gogh," July 3–August 4, 1957, no. 16. Philadelphia Museum of Art. "Exhibition of Philadelphia Private Collectors," June 19–September 15, 1963, no catalogue. London. Tate Gallery. "The Annenberg Collection," September 2–October 8, 1969, no. 20. Philadelphia Museum of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," May 21–September 17, 1989, unnumbered cat. Los Angeles County Museum of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," August 16–November 11, 1990, unnumbered cat. Washington. National Gallery of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," May 6–August 5, 1990, unnumbered cat. New York. The Metropolitan Museum of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," June 4–October 13, 1991, unnumbered cat. References Vincent van Gogh. Letter to Émile Bernard. [about November 20, 1889] [published in "The Complete Letters of Vincent van Gogh," 3 vols., Greenwich, Conn., 1958, vol. 3, pp. 522–23, 525, letter no. B21]. Vincent van Gogh. Letter to his brother Theo. [about November 21, 1889] [published in "The Complete Letters of Vincent van Gogh," 3 vols., Greenwich, Conn., 1958, vol. 3, p. 233, letter no. 615]. Vincent van Gogh. Letter to his sister Willemien. [about May 20, 1890] [published in "The Complete Letters of Vincent van Gogh," 3 vols., Greenwich, Conn., 1958, vol. 3, p. 469, letter no. W21]. Vincent van Gogh. Letter to his brother Theo. [January 3, 1890] [published in "The Complete Letters of Vincent van Gogh," 3 vols., Greenwich, Conn., 1958, vol. 3, p. 243, letter no. 621]. "Exhibitions in New York; Paintings from the Rosenberg Collection; Wildenstein Galleries." Art News 25 (March 19, 1927), p. 9. J.-B. de La Faille. LOeuvre de Vincent van Gogh: Catalogue Raisonné. Paris, 1928, vol. 1, p. 201–2, no. 708; vol. 2, pl. 199. "St. Louis Shows Art of the Post Impressionists." Art News 29 (April 18, 1931), p. 5. W. Scherjon. Catalogue des tableaux par Vincent van Gogh décrits dans ses lettres. Périodes: St. Rémy et Auvers sur Oise. Utrecht, 1932, pp. 20, 78, 80–81, no. 8, ill. W. Scherjon and Jos. De Gruyter. Vincent van Goghs Great Period: Arles, St. Rémy and Auvers sur Oise (complete catalogue). Amsterdam, 1937, pp. 210, 268, 270–71, St. Rémy no. 8, ill. J.-B. de La Faille. Vincent van Gogh. London, [1939], pp. 498, 559, 577, 589, no. 723, ill. Joseph S. Trovato in 1913 Armory Show: 50th Anniversary Exhibition, 1963. Exh. cat., Munson-Williams-Proctor Institute Utica, NY. New York, 1963, p. 191. Paolo Lecaldano. "Da Arles a Auvers." Lopera pittorica completa di Van Gogh e i suoi nessi grafici. 2, repr. [1st ed., 1966]. Milan, 1977, pp. 223–24, no. 738, ill. J.-B. de La Faille. The Works of Vincent van Gogh: His Paintings and Drawings. Amsterdam, 1970, pp. 275, 639, no. 708, ill. p. 274. Jan Hulsker. The Complete Van Gogh: Paintings, Drawings, Sketches. [1st ed., Amsterdam, 1977]. New York, 1980, pp. 422, 424, 427, no. 1855, ill. Evert van Uitert. "Vincent van Gogh and Paul Gauguin in Competition: Vincents Original Contribution." Simiolus 11, no. 2 (1980), p. 103 n. 83. Ronald Pickvance The Metropolitan Museum of Art. Van Gogh in Saint-Rémy and Auvers. New York, 1986, pp. 16–17, 53, 55, 58–59, 98, 160–61, 166–67, 304, 318, ill. p. 306 and fig. 37. Milton W. Brown. The Story of the Armory Show. 2nd ed. [1st ed., Greenwich, Conn., 1963]. New York, 1988, p. 272, ill. p. 199 (installation). Roland Dorn in Vincent van Gogh and the Modern Movement: 1890–1914. Exh. cat., Museum Folkwang, Essen. Freren, Germany, 1990, pp. 158, 160. Jan Hulsker. Vincent and Theo van Gogh: A Dual Biography. Trans. and rev. ed. [1st ed. Weesp, Holland, 1985]. Ann Arbor, Mich., 1990, p. 386. Jérôme Coignard. "Le Salon de peinture de Mr. et Mrs. Annenberg." Beaux arts no. 92 (July–August 1991), p. 72, ill. in color, front cover, pp. 5, 62–63 (overall and details). Joseph J. Rishel in Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1991, pp. 106–7, 199, ill. (color and b&w) [1st edition has different page numbers]. J.F. Heijbroek and E.L. Wouthuysen. Kunst, Kennis en Commercie: De Kunsthandelaar J. H. de Bois (1878–1946). Amsterdam, 1993, p. 197, ill. pp. 44 and 197 (installation view and overall). Jan Hulsker. Vincent van Gogh: A Guide to His Work and Letters. Amsterdam, 1993, pp. 17, 42, 56–57, 61, 76. Jan Hulsker. The New Complete Van Gogh: Paintings, Drawings, Sketches. rev. ed. Amsterdam, 1996, pp. 424, 426–27, no. 1855, ill. Ira Berkow. "Jewels in the Desert." Art News 97 (May 1998), p. 147, ill. p. 145 (color, installation photo). Susan Alyson Stein in "Recent Acquisitions, A Selection: 1998–1999." Metropolitan Museum of Art Bulletin 57 (Fall 1999), p. 46, ill. (color). Bogomila Welsh-Ovcharov. Van Gogh in Provence and Auvers. [New York], 1999, pp. 248–50, ill. p. 251 (color). Joan E. Greer. "A Modern Gethsemane: Vincent van Goghs Olive Grove." Van Gogh Museum Journal (2001), p. 109 n. 5. Madeleine Korn. "Collecting Paintings by Van Gogh in Britain Before the Second World War." Van Gogh Museum Journal (2002), p. 137. Viviane Rose Universite de Toulouse-Le-Mirail. "Peinture et affectivité (Monet, Cézanne, van Gogh)." Temps, Affect, Sensation: de Cézanne à Matisse. 1, Lille, [2003], pp. 229–30. Martin Bailey in Van Gogh and Britain: Pioneer Collectors. Exh. cat., Compton Verney, Warwickshire. Edinburgh, 2006, p. 126. Leo Jansen, and Hans Luijten, and Nienke Bakker. Vincent van Gogh: Painted with Words, The Letters to Émile Bernard. Exh. cat., Morgan Library & Museum. New York, 2007, pp. 345, 353 n. 15. The Olive Trees by Vincent van Gogh (Metmuseum 1, 2009) (Painted in 1889). Medium: Oil on canvas Dimensions: 28 5/8 x 36 1/4 in. (72.7 x 92.1 cm) A photograph of real olive trees (Artsnet Minnesota) Van Gogh’s oil paintings were created with vigorous drawing and stippling with the brush. He experimented with various tools, inks, papers and techniques such as “charcoal, chalk, graphite, carpenter’s pencils, reed and quill pens, aniline inks, a perspective frame, and laid and woven paper”, and milk was used as a fixative (Walker: 25). The technique of Pointillism that is evident in The Olive Trees belongs to the postimpressionist school of painting using dots of varying sizes to increase the luminosity of paintings. This was done by “placing small dots of pure color side-by-side to produce an optical mixture in the eye, or to achieve strong hue contrasts with larger dots” (Backhaus et al: 27). The painting depicts olive trees in the way van Gogh saw them, with all the turbulence of emotion they inspired in him. Van Gogh used bold colors and exaggerated lines, radically changing the shape of objects in order to communicate the intensity of his thoughts and emotions. Without sketching his scenes first, he painted directly on the canvas, applying the paint with broad, strong brush strokes. “The branches of the trees curve and twist, the ground rolls like waves, and the sun blazes in a brilliant bright yellow. The short, powerful brushstrokes seem almost to have a life of their own. The colors were often symbolic: yellow symbolized love and light, red and green conveyed passion and conflict, blue was infinity, and grey was surrender” (Artsnet Minnesota). 2. Anton Raphael Mengs’ Apollo and the Muses on Parnassus, 1784 One of the important characteristics of the late eighteenth century was a revival of interest in classical antiquity which was established in neoclassicism, a movement based on the subjects and styles of ancient art. The defining element of neoclassicism was an interest in Greek and Roman culture which encompassed painting, sculpture and architecture. This focus on classicism was partly due to the emphasis given to rationality, beauty and harmony during the Enlightenment (1650-1800) which were in alignment with the geometric harmony and aesthetics of classical art and architecture. In the intellectual and artistic world of eighteenth century Britain, there was a sense of optimism about progress towards an improved society, emerging from several important aspects of the Enlightenment, and from the economic revolutions of the period (Spadafora, 1990: Intro). The classical cultures of Greece and Rome with their well evolved political organization were based on traditions of liberty, civic virtue, morality and sacrifice; and were considered worth emulating during the political upheavals in Britain (Gardner et al, 2005: 814). Apollo and the Muses on Parnassus, 1784 by Raphael Mengs (Metmuseum 2, 2009) Dimensions: plate 19 3/4 x 29 15/16 in. (50.2 x 76 cm). Material and Technique: Print, engraving Subject matter/ theme: Figure/ deity (Metmuseum 2, 2009). Anton Raphael Mengs (German, 1728–1779), a protégé of Winckelmann, chief artist of the Dresden court, used classical themes extensively in his paintings. The carefully differentiated Muses along with their mother, Mnemosyne emerge from ancient sculpture, while the setting which is a small grove of laurels in which the Muses are grouped around their leader, is derived from Raphael’s fresco in the Vatican. Morghen, Italian, Neapolitan, 1758-1833, was the talented engraver, who helped in creating this art work (Metmuseum 2, 2009). Mengs developed his expert painting skills by studying works from antiquity, the Renaissance, and the Baroque from his travels to Italy. His skillful use of dry pastel crayons helped him achieve the effect of oil painting in his art, from his ability to produce an unusual degree of colour saturation and glossy brilliance. Mengs began using oil colours in 1746 (Getty, 2008). “Taste” in art associated with the concept of a “Grand Manner” was seen in the works of Anton Raphael Mengs. Genius in art meant a mastery of the rules (Carrier, 1996: 174). From the mid-eighteenth century, however, genius was associated with the use of individual imagination in the violation of rules; although standard taste, incontestable virtue and civic responsibility as the goal of education and personal cultivation continued to be the basis of protocols in society (Harrison et al, 2000: 424-425). . 3. Pablo Picasso’s Le Repast Frugal, 1904 This print work was created in the beginning of Pablo Picasso’s (Spanish, 1881 - 1973) long career as a print maker. The design and theme is similar to his works created in his Blue Period paintings. The Metmuseum 3 (2009) describes this etching which was created in two states, as one of Picasso’s most profoundly touching images: “although the figures depicted here are united in a tender embrace, their turned heads and distant gazes reveal an emotional separation that contrasts with their physical closeness”. Picasso’s subjects though depicting affectionate proximity with the man clasping the woman’s shoulder, they also portray a quiet sense of loneliness and isolation by their reflective mood and their heads turned away from each other. The small quantities of bread and wine on the bleak table in front them and their narrow, emaciated bodies tell a compelling story. Le Repas Frugal by Pablo Picasso Le Repas Frugal (1904) (Metmuseum 3, 2009) Etching; Plate:18-3/16 x 14-13/16 in. (45.5 x 37 cm) Sheet: 25 11/16 x 19 11/16 in. (64.2 x 49.2 cm) (Metmuseum 3: 2009). At the age of twenty-three as a struggling artist, Picasso had returned to France from his native Spain. The Frugal Repast was the second etching created early in Picasso’s career and reveals the artist’s sympathy for the poor. He created several other compositions based on lonely and underprivileged sections of humanity. In The Frugal Repast, his expertise as an artist is evident, with his usage of lines to create subtle effects of light and shapes for portraying a sombre mood (Metmuseum 3, 2009). Picasso was a revolutionary artist, who challenged the ways in which people and the world were defined. He created his own representations of the various subjects he portrayed, and created several artworks of various types using different mediums (Caws: 150). “From the quiet musings of his Rose and Blue periods, through the tension of cubism, the dissonance of his expressionist phase, and on through the vast range of his unique imagery, the works give testimony to his restless, creative energy” (National Art Education Association: 7). His expertise as a painter may be a contributing factor to his immensely skilful prints. The artist’s mastery over the medium, creation of mood and emotional effects with the help of etching techniques, and his expertise in graphic art “ensured an important place for him in the history of contemporary art” (Lieberman: 3). Moreover, contradicting the earlier tradition of artists to glorify war, Picasso created artworks with an anti-war statement, depicting his strong reaction against conflict. The ensuing poverty and deprivation is portrayed in this print created by the artist. 4. Mahmud al-Husaini’s Timurid Calligraphy, 1411 Islamic art is a broad term used for works of art often created by Muslims, influenced by the cultures of the various Islamic countries. It indicates the artistic production that had taken place from the Hijra period (ca. 622 AD) to the 19th century in a territory extending from Spain, Morocco to Indonesia. Early Islamic art is from c.650 to c. 1000, and the medieval art is from c. 1000 to c. 1250 (Ettinghausen, et al: 2). Such works include architecture, paintings, calligraphy, pottery and metalwork. The characteristics of Islamic art are often defined by the philosophies and spirit of Muslim traditio. The major characteristics of Islamic art is calligraphy: It has always been considered as the most important and the noblest form of art, because of its association with the Quran, or the Muslim holy book, which is written in Arabic. Another important characteristic is the covering of surfaces with patterns composed of geometric or vegetal elements (Linda Komaroff, 2009). In Islamic art, the influence of Christian motifs and symbols have been seen. In the Qu’ran, Islam’s holiest book, Prophet Muhammed (Arabian 570 – 632) recorded the revelations of the Angel Gabriel: the submission of the faithful to the will of Allah (Mahmoud: 159-162). Page from a Poetic Anthology of Works by Nizami and Others, 1411 Timurid Calligraphy by Mahmud al-Husain, Iranian (Metmuseum 4, 2009) Material and technique: Gold, ink and paper; Calligraphy. Object: Book, manuscript. This manuscript was first copied in Shiraz in 1411 during the governorship of Iskandar, a great patron of the arts, specifically the art of the book. In various places in the book, spaces were left blank and subsequently filled in by Turkman Aq Quyunlu and Ottoman painters, thus enhancing the manuscripts travels, recorded during the timeline. The delicate script or nastaliq has been done by a celebrated scribe who had worked on several manuscripts between 1405 and 1429 (Metmuseum 3, 2009). Figural imagery is also used widely in manuscript illustrations, though not in a religious context. Optics, perspective, colour and geometry shed light on Islamic art, so also did astronomy and astrology. In most manuscript illustrations, the text begins on the verso of the first folio, about a quarter of the way down from the top of the page. In illuminated manuscripts, this space is occupied by the title of the book in its central panel, or the ‘basmalah’ or ‘tasmiyah’: “In the name of God, the merciful, the compassionate.” The text ended with a colophon, containing book’s title, author’s name, the date, etc, presented in the form of an inverted pyramid or triangle ( ARA Canada ). 5. Muslim’s Lustre-painted bowl ca. 1000 The history of ceramic production in the medieval Muslim world, from the period of the Umayyads in the seventh century to the Ottomans and Safavids in the seventeenth century, attests to the superior creativity and experimentation of the Islamic potters. The Fatimid period is characterized, by the lustre-painted ceramics that were distinctive of Islamic pottery of the time. A Fatimid Egyptian luster-painted bowl in the Museum of Islamic Art, Cairo, bears palmette trees and is datable to the reign of al-Hakim (996-1021). The designs on bowls were found to be similar, with undulating arabesque designs, calligraphic decoration, palmette tree, palmette leaves, geometric and other Arabic inscription in Kufic script (Jenkins: 57) Earthenware bowl, glazed and luster-painted by Muslim, ca 1000 (Metmuseum 5, 2009) Place: Egypt Size: Diam. 10 in. (25.4 cm) Material and technique: Ceramic and glazed The artist Muslim’s signature appears beneath the eagle’s right claw and below the foot of this distinctive bowl. Muslim is the only well-known Egyptian potter of this period (ca. 1000). The potter was not limited to the iconography of Fatimid works, and represented the motif of the heraldic eagle, which was a popularly used motif (Metmuseum 3, 2009). Lustre painting is the art of ceramics through a technique that was developed later. Lustre is an overglaze technique in which the metallic compound pigment is applied to the glaze fired hard surface. It is then fixed permanently by a second firing in a reducing kiln, and adheres to the surface in a film so transparent and thin that it produces a rainbow reflection. The Fatimd lustre ware, in its monochrome colours ranging from pale lemon yellow to a rich deep copper, is embodied in this bowl (Museum of Islamic Ceramics, 2008). Lustre pottery dating from 975 AD to 1075 AD are chiefly made from Nile alluvium, modified by the addition of a calcareous clay to produce a buff to pink firing clay known as the calcareous Nile (Mason & Tite: 77). Lustre glaze appears as a very complex material made of different glass layers. Two grades of glass are used, one saturated with silicon, and another free of silicon. In the former, silicon is present in the cream-white region which gets its colour more from the presence of cristobalite crystals than from the silicon, in the form of a calcium-potassium-silicon compound. The use of a common raw material such as bronze scoriae was observed. Exothermic burning of acetate residues is proposed as the key step for the preparation of polychrome lustre (Colomban & Truong: 195). Conclusion Five artists and their artworks have been highlighted and analysed. It is seen that each artist has depicted the culture of his time in history. The artist’s own individual qualities have also become evident. The painter Van Gogh’s Olive Trees reveal the tempestuous nature of his mental condition while at the asylum; while Meng’s Apollo and the Muses on Parnassus, 1784 is neoclassicist, based on the subject and style of ancient times. The revolutionary artist Pablo Picasso who has often denounced war, changed the way of representing people, showing an emaciated couple pre-occupied with their own thoughts sitting at a meagerly laid table probably in a war-torn economy. The Islamic illuminated manuscript with calligraphy and the glazed and lustre painted bowl each depicted the importance of the different art forms in the genre of Islamic art, both being of different periods and cultural situations. Works Cited ARA Canada : Les Amis de la Reliure d’Art du Canada. Retrieved on 22nd March, 2009 from: http://www.aracanada.org/activities_exhibitions_national_ISL_2_en.html ArtsNet Minnesota. Vincent van Gogh: Olive Trees. 2008. Retrieved on 22nd March, 2009 from: http://www.artsconnected.org/artsnetmn/environ/vangogh.html Backhaus, Werner, Kliegl, Reinhold & Werner, John S. Colour Vision. New York: Walter de Gruyter. (1998). Carrier, D. High art: Charles Baudelaire and the origins of modernist painting. The United States of America: Penn State Press. (1996). Caws, Mary Ann. Pablo Picasso. London: Reaktion Books. (2005). Colomban, P. & Truong, C. (2004). Non-destructive Raman study of the glazing technique in lustre potteries and faience (9-14th centuries): silver ions, nanoclusters, microstructure and processing. Journal of Raman Spectroscopy, 35: 195-207. Ettinghausen, Richard, Grabar, Oleg & Jenkins-Madina, Marilyn. Islamic art and architecture 650-1250. 2nd Edition. Yale: Yale University Press. (2003). Gardner, H., Kleiner, F.S. & Mamiya, C.J. Gardner’s art through the ages. United Kingdom: Thomson Learning. (2005). Getty (The Getty Museum). Artists: Anton Raphael Mengs. The J. Paul Getty Trust. (2008). Retrieved on 22nd March, 2009 from: http://www.getty.edu/art/gettyguide/artMakerDetails?maker=17952 Harrison, C., Wood, P. & Gaiger, J. Art in theory 1648-1815: an anthology of changing ideas. The United Kingdom: Blackwell Publishers. (2000). Jenkins, M. Early medieval Islamic pottery: The eleventh century reconsidered. Muqarnas, 9: (1992): 56-66. Lieberman, William S. Picasso: his graphic art. The Bulletin of the Museum of Modern Art (1952): 3-17. Mahmoud, Omar. Muhammad: an evolution of God. New York: AuthorHouse (2008). Mason, R.B. & Tite, M.S. The beginnings of Islamic stonepaste technology. Archaeometry, 36: (1994): 77-91. Metmuseum 1. (The Metropolitan Museum of Art). (2009). Olive orchard. Retrieved on 22nd March, 2009 from: http://www.metmuseum.org/works_of_art/collection_database/european_paintings/olive_orchard/objectView.aspx?&OID=110002454&collID=11&vw=0 Metmuseum 2. (The Metropolitan Museum of Art). (2009). Apollo and the Muses on Parnassus, 1784. Retrieved on 22nd March, 2009 from: http://www.metmuseum.org/toah/hd/poet/ho_28.22.36.htm Metmuseum 3. (The Metropolitan Museum of Art). Works of art: drawings and prints. Le Repas Frugal (1904) by Pablo Picasso. (2009). Retrieved on 22nd March, 2009 from: http://www.metmuseum.org/works_of_art/collection_database/drawings_and_prints/Le_Repas_Frugal_Made_by_Pablo_Picasso/ViewObject.aspx?depNm=drawings_and_prints&pID=-1&kWd=&OID=90004093&vW=1&Pg=1&St=0&StOd=1&vT=1 Metmuseum 4. (The Metropolitan Museum of Art). Page from a Poetic Anthology of Works by Nizami and Others, dated 1411. Timurid Calligraphy by Mahmud al- Husaini. (2009). Retrieved on 22nd March, 2009 from: http://www.metmuseum.org/toah/hd/timu/ho_13.228.19.htm Metmuseum 5. (The Metropolitan Museum of Art). Fatimid: Earthenware glazed and lustre-painted bowl. Retrieved on 22nd March, 2009 from: http://www.metmuseum.org/toah/ho/06/nfe/ho_63.178.1.htm Museum of Islamic Ceramics. Museum of Islamic Ceramics in Egypt. (2008). Retrieved on 8th January, 2008 from: http://www.cartage.org.lb/en/themes/geoghist/histories/Oldcivilization/Egyptology/PlacesinHistorical/Museums/Ewer.htm National Art Education Association. Pablo Picasso. Art Education (1980): 4-7. Spadafora, D. The idea of progress in eighteenth century Britain. The United Kingdom: Yale University Press. (1990). Walker, John A. Review of Van Gogh: the master draughtsman. Heugten, Sjraar, V., Vellekoop, Marije & Zwikker, Rolie. The Art Book, 13.1 (2006): 25-26. Williams, Nicola & Parnells, Fran. Provence & the Cote d’Azur. The United States of America: Lonely Planet Publishers. (2005). Read More