Goals of Impressionism as Visual Art - Literature review Example

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Prehistory

Diverse materials were used during the Paleolithic period to serve different purposes at the time. For instance, the human way of life was characterized by the use of woods, bones, and stones. The sharp-edge cutting tools were essentially used in Ethiopia for digging and chopping. Similarly, the existence of a hand axe to facilitate the roles of Lower Paleolithic humans particularly in their access to edible roots and flake cores. Fire use, however, involved the application of stones that helped in cooking food to confront cold regions that often froze meat. It is a phenomenon evident in the lives of Homo erectus and other early hominids (Dickerson, 2013). Later the period witnessed the advent of advanced tools notably stone tipped spears and harpoons that served the Middle Paleolithic period. However, art served the purpose of expressing creativity and celebrating the people and religion.

Interestingly, in Mesopotamia and Egypt, a comparison of the Ziggurat of Ur-Nammu with the Great Pyramids of Giza reveals exciting facts. First, while the pyramids were built as tombs to house Egyptian queens and pharaohs, ziggurat was dedication to king Marduk. However, it imitated a Babylonian cosmology through its model of Tower of Babel. Contrastingly, the construction of pyramids involved the inclusion of a burial chamber with other forms of a low mastaba tomb. Accordingly, the building of a step-like appearance below the pyramid resulting to an intricate system of corridors from ziggurat’s high terraces. Second, the Ziggurat of Ur-Nammu with its high terraces is an honor to a famous sun god. It means the rectangular shapes accompanied by the front 3 staircases are meant for worshipping unlike the Great Pyramids (Gosden, 2003). Similarities equally abound such as the presence of bedchambers. Mesopotamians always equated the gods to mortal subjects and hence gave them special burials. Consequently, they both established shrines on top of both the Ziggurat and Pyramids.

The winged Assyrian Bulls stand for several things in Sumerian society worthy of note. First, in Mesopotamia art, the wings are a celebration of Sumerians and their kings who spoke Semitic language. In other words, the advancement of Semitic dynasties often meant that cities such as Akkad and Babylon would use human-headed art that preserved architectural monuments. Second, involves the idea of championing political supremacy through an artistic culture that was prevalent amongst Sumerians. Third, the conception of relief sculpture usually symbolized an attached to military affairs that were a dominant feature of Sumerians. Briefly, paintings and other statutes such as the winged Assyrian Bulls are interpreted as royal gateways of understanding the needs and wants of most Mesopotamians (Marconi, 2015). Fourth, comprehending the mythology behind the art has been seen from the perspective of religious beliefs and Assyrian cultural iconography that later impacted the Jewish people. Fifth, encompasses pictorial art representation that forms the architecture of the Assyrian winged bulls. It means sculptural adornments through seals and vases were vital elements for the standard success of any standard Mesopotamian art. Overall, decorative and architectural works contributed to the general design of making artistic inventions that embody a feeling of cultural pride.

Non-Western Art mostly from Africa bear significant cultural importance because of the impact it has on viewers. There are numerous reasons to explain the phenomenon. First, expressive individualism is often common as noted with most human figures such as the Yoruba bronze head sculpture. Its natural depictive characteristics through visual canons regimented to suitable cultural importance cannot be gainsaid. Second, visual abstraction is a significance that is manifested in the form of diverse colors that evoke stylistic norms with naturalistic representation. On that account, insistence on performance art as noted with the utilitarianism of traditional African masks are viewed from a ceremonial contexts (Dickerson, 2013). The use of costumes and communal parameters demonstrate the association of spirits and dance that live inside the Non-western art. Accordingly, the use of nonlinear scaling has a means of establishing aspects of natural growth that are evident in several three-dimensional sculptures.

The impact on viewers is the invocation of cultural pride through myth, tradition, and custom that is deeply rooted in most African art. For example, most of these art represented war preparation, crop harvesting, and initiations that characterized the life of Africans. Viewers thus interpret elements of the art such as animal hair, ivory, and plant fibers from the prism of communal celebration. Advancement of African aesthetics such the values of youthfulness and self-composure become integral forms of understanding the art (Marconi, 2015). Overall, cultural pride dominates the essence of Non-Western art throughout the continent and the Yoruba bronze is clear evidence of the impact in Nigeria.

Contrastingly, for Greek Art, it often evokes emotions especially in statues such as Nike of Samothrace, Two Sons, Dying Gaul, and Gaul Killing Himself and His Wife. For example, in the first art that existed during the Hellenistic period, the stretched wings symbolize divine grace and help. Other essential metaphors of destiny and struggle usually trigger emotions of critical awareness and perseverance in terms of expanding one’s world view. It is a phenomenon equally evident in the Two Sons in regards to evocation of sacrifice after the killing of Laocoon in the aftermath of exposing the Trojan Horse. The idea of punishment to correct wrong is another interesting interpretation of understanding Greek Art and its emotional influence on Italian Renaissance artists. Contextually, the presence of the snakes is a sign of evil that often bites without care for people whose principle is the truth. However, it is the remarkability of the Dying Gaul through its evocative pathos and realism that depict the reality of war. The marble figure is a wounded man with all his weapons such as trumpet and sword lying beside him (Dickerson, 2013). In other words, the exploration of the feelings of defeat and helplessness critically reveal the interplay of internal human struggle to confront the world. Gaul’s fate with that of his wife is a continuation of the exploration of the fickleness of the human body. It brings to mind the beastly nature of most individuals when faced with dilemma situations that require both rationality and logic.

Roman Art with emphasis to Trajan’s Column is evidence of the achievements of both architecture and engineering. For example, its commemoration of the Roman power is significant because it reveals the win in the Dacian Wars. Therefore, victory columns offer varying interpretations, which include deification of emperors that was common (Marconi, 2015). Additionally, glorification as a symbol for flaunting the Roman conquest provides a new platform for appreciating the artistic creation of the monument. Contrastingly, the images on the column such as the pictures of women and spiral stairs the deeper relationship between male and female folk in the ancient culture. The images are also homage to the civilization that have changed over the years in terms of evoking both cultural pride and historical importance. A crowning achievement such as the Pantheon is fundamental because it shows the admiration for artistic aesthetics that dominated the lives of most Romans.

Giotto and Duccio were influential during the High Middle Ages in terms of the styles they used to represent their art. For instance, Duccio’s Byzantine style often involves the use of realistic or solid backgrounds that seem holy and calm (Dickerson, 2013). It means both artists attempted to portray the art belonging to Eastern Roman Empire that existed in the 5th century. Therefore, the influence of the two artists rests on their critical depictions of church architecture and icon painting that explored particular western traditions. The notable pieces by Giotto and Duccio include Ornissanti Madonna and Rucellai Madonna respectively. These altarpieces that were the result of a commission by Cathedral of Siena the powerful imagery of religion especially during the High Middle Ages. Alternatively, for the narrative scenes, the artists usually employ visual techniques with emotional messages.

On the other hand, both artists used either stone or wood in their sculpture to incite interest in the Church during the turbulent High Middle Ages period. It means church services such as readings and prayers became integral components of Duccio’s and Giotto’s pieces in order to enlarge the religious narrative. Additionally, in terms of subject matter, the artists often reminded the faithful about the prospects of heaven and hell as seen in Duccio’s work called Maesta. Attaching imagery to religious life became a norm because Christians were eager to find solace in such paintings. Igniting civic implications notably of teaching people about the importance of church equally increased the influence of the two artists.

Finally, goals of impressionism as visual art form explore the depiction of realistic scenes that are found in modern life. Use of brush strokes usually have intense color vibrations that have visual effects to create an optical effect. It means having a linear perspective with the addition of lightened palettes becomes the defining feature of most impressionist painters (Gosden, 2003). Visually, therefore, the shadowy effects are developed with spontaneity to represent both indoors and outdoors. Impressionist paintings such as The Cradle by Berthe Morisot and Sunset at Ivry by Armand Guillaumin summarily reveal the consistent artistic beauty that often motivated these artists.