the evolution of the artist
Thus far into the semester, discussion of the training, motivations and the position in society artists held during specific periods of art movements has definitely varied. The concept of “being an artist” has developed and evolved over time and continues to do so.
At the beginning of the semester, we studied the art of the Americas after 1300 and also the art of Pacific Cultures. Looking at these works it is clear that they were all created by various artists, however, there are no signatures or artists to be referred to. Yes there are several pieces one can reference back to having symbolic associations; however one cannot make general distinctions between art and material culture easily regarding indigenous peoples. The concept of being an artist at this time was not yet created.
Taking into consideration the nomadic hunter-gatherer societies of Australia for example-we can have more of an understanding that there was no technical training or schooling for artists. The aborigines barely owned any possessions which would lead someone to think of a total lack of class structure, ultimately canceling out any possibility of position in society. Therefore the “artist” or at least the concept of being an artist was nonexistent. If we take a look at Mimis and Kangaroo, a prehistoric rock art cave painting which dates back roughly between 16,000 and 7,000 BCE, we discover this is not true (Stokstad 861). The aborigines had complex social structure heavily emphasized by mythology and represented as such by various art forms.
The ceremonial life of the Arnhem Land natives, included ritual body painting, and though it may not be a formal training technique, it definitely helped develop a style based on a specific motivation; mythical and ritual tradition. According to Stokstad, this ritual body painting was used as a means of communication as also as an aid in the education of myths. Motivation to continue the rituals of ancestors serves as a main component in the necessity to make art. Stokstad does not include any information on what position in society an Arnhem Land artist may have held; however as a preserver of history and tradition I would say it was a respected position in society.
If we step forward in time, somewhere during the Yuan Dynasty in China (1271-1368), we can see changes in not only style but of theme, medium and most importantly attitude. Throughout the history of China, the imperial court had created a standard of artists and art (Stokstad 803). These imperial artisans had produced a variety of paintings, jewelry, ceramics and architecture. Over time, painters and calligraphers gradually rose up the social ladder. At first “arts of the brush”, which included both painting and calligraphy were practiced by scholars, later emperors began to practice as well, raising the status of these arts, thereby raising the status of the artists.
Reflecting this increased societal position was the imperial painting academy. This, according to Stokstad, was established during the Song Dynasty. Painters at this time achieved the same status as court officials. If we look at Zhao Mengfu’s Autumn Colors on the Qiao and Hua Mountains, which was painted in 1296, we can see a development of ideas. We can also see changes and feel emotion that before this era were not prevalent. Zhao’s hand scroll evoked nostalgia for China’s past, whereas artwork previously focused on current happenings. Artists now were beginning to develop their own ideas of what art should be. And since there was no need to earn an income from their art, artists now cultivated personal expression.
The epitome of self-absorbed self expression may be found in the form of Albrecht Dürer, the embodiment of conceptual independent creative genius. Studious, observant, meticulous and analytical; Dürer apprenticed as a goldsmith, painter, stained glass designer and woodcutter. In the spring of 1490, Dürer traveled to extend his education and gain experience as an artist (Stokstad 678). Once traveling to Italy, Dürer was introduced to a new idealism.
By referring to Self-Portrait, an oil painting created in 1500, we can see Dürer’s self-idealized representation, Christ-like and iconic. After returning to Italy in the early 1500s, Dürer joined the spirit of the Italian Renaissance. The awareness of his own role as a creator is apparent in Self-Portrait, adopting the humanist ideal of the artist as the divinely inspired creator.
All of the above artists embody the role of preserver.
Though Mimis and Kangaroo, does not have a designated artist, the motivation to preserve tradition is quite clear. Similarly Zhao Mengfu’s Autumn Colors on the Qiao and Hua Mountains hones the same impetus. Dürer’s Self-Portrait, on the other hand holds a slightly more selfish motivation, the preservation of ego.
I have not extensively researched multiple artists from various time periods; I have come across similarities among each era studied so far this semester. Regarding the training, motivations and the position in society artists have over time created a universal persona, which to a certain extent may be found throughout all art types; the role of creator. Not all artists perceive themselves the way Albrecht Dürer did, as having divine likenesses. Yet, through the progression of artistic ventures, more artists have been presented with the possibility of such perception.
At the beginning of the semester, we studied the art of the Americas after 1300 and also the art of Pacific Cultures. Looking at these works it is clear that they were all created by various artists, however, there are no signatures or artists to be referred to. Yes there are several pieces one can reference back to having symbolic associations; however one cannot make general distinctions between art and material culture easily regarding indigenous peoples. The concept of being an artist at this time was not yet created.
Taking into consideration the nomadic hunter-gatherer societies of Australia for example-we can have more of an understanding that there was no technical training or schooling for artists. The aborigines barely owned any possessions which would lead someone to think of a total lack of class structure, ultimately canceling out any possibility of position in society. Therefore the “artist” or at least the concept of being an artist was nonexistent. If we take a look at Mimis and Kangaroo, a prehistoric rock art cave painting which dates back roughly between 16,000 and 7,000 BCE, we discover this is not true (Stokstad 861). The aborigines had complex social structure heavily emphasized by mythology and represented as such by various art forms.
The ceremonial life of the Arnhem Land natives, included ritual body painting, and though it may not be a formal training technique, it definitely helped develop a style based on a specific motivation; mythical and ritual tradition. According to Stokstad, this ritual body painting was used as a means of communication as also as an aid in the education of myths. Motivation to continue the rituals of ancestors serves as a main component in the necessity to make art. Stokstad does not include any information on what position in society an Arnhem Land artist may have held; however as a preserver of history and tradition I would say it was a respected position in society.
If we step forward in time, somewhere during the Yuan Dynasty in China (1271-1368), we can see changes in not only style but of theme, medium and most importantly attitude. Throughout the history of China, the imperial court had created a standard of artists and art (Stokstad 803). These imperial artisans had produced a variety of paintings, jewelry, ceramics and architecture. Over time, painters and calligraphers gradually rose up the social ladder. At first “arts of the brush”, which included both painting and calligraphy were practiced by scholars, later emperors began to practice as well, raising the status of these arts, thereby raising the status of the artists.
Reflecting this increased societal position was the imperial painting academy. This, according to Stokstad, was established during the Song Dynasty. Painters at this time achieved the same status as court officials. If we look at Zhao Mengfu’s Autumn Colors on the Qiao and Hua Mountains, which was painted in 1296, we can see a development of ideas. We can also see changes and feel emotion that before this era were not prevalent. Zhao’s hand scroll evoked nostalgia for China’s past, whereas artwork previously focused on current happenings. Artists now were beginning to develop their own ideas of what art should be. And since there was no need to earn an income from their art, artists now cultivated personal expression.
The epitome of self-absorbed self expression may be found in the form of Albrecht Dürer, the embodiment of conceptual independent creative genius. Studious, observant, meticulous and analytical; Dürer apprenticed as a goldsmith, painter, stained glass designer and woodcutter. In the spring of 1490, Dürer traveled to extend his education and gain experience as an artist (Stokstad 678). Once traveling to Italy, Dürer was introduced to a new idealism.
By referring to Self-Portrait, an oil painting created in 1500, we can see Dürer’s self-idealized representation, Christ-like and iconic. After returning to Italy in the early 1500s, Dürer joined the spirit of the Italian Renaissance. The awareness of his own role as a creator is apparent in Self-Portrait, adopting the humanist ideal of the artist as the divinely inspired creator.
All of the above artists embody the role of preserver.
Though Mimis and Kangaroo, does not have a designated artist, the motivation to preserve tradition is quite clear. Similarly Zhao Mengfu’s Autumn Colors on the Qiao and Hua Mountains hones the same impetus. Dürer’s Self-Portrait, on the other hand holds a slightly more selfish motivation, the preservation of ego.
I have not extensively researched multiple artists from various time periods; I have come across similarities among each era studied so far this semester. Regarding the training, motivations and the position in society artists have over time created a universal persona, which to a certain extent may be found throughout all art types; the role of creator. Not all artists perceive themselves the way Albrecht Dürer did, as having divine likenesses. Yet, through the progression of artistic ventures, more artists have been presented with the possibility of such perception.