Category Archives: Assignment 1


Just watching a fascinating programme on BBC 4 about ‘The Other Pompeii: Life and Death Herculaneum. Early in this module I did research on how Greek and Roman statues would have been coloured and not the plain white marble that we are so used to seeing. When they cleaned the ash from a head of a woman they found the original colours on the hair, eyes and lashes.


Assignment 1

WOW I have just emailed my 1st Assignment to my tutor and for once I was on time.  I’m so glad I chose to take Understanding Western Art as my 3rd level One Module towards a degree in Textiles.  There is a lot to cover and take in but I’ve learnt so much already.  When I have the time I will go back to look at some parts in more depth as obviously you can’t cover everything in detail.

Each time I go into Liverpool city centre instead of looking down I’ve started looking up at the buildings with more interest and finding examples of how in the 19th century classical elements where used in the many new buildings being built including:

The Walker Art Gallery

(c) Susan Devonport

Central Library

(c) Susan Devonport

World Museum Liverpool

(c) Susan Devonport

and now I can put names to the columns and parts of the building.

Now it is on to Part Two From the High Renaissance to Post Impressionism.

Limitations of postcards

What are the limitations of using postcards, Internet imaged etc for analysing art works?

There is no substitute for viewing the art in person because no matter how good the reproduction is or how calibrated your computer monitor is you can’t really see the colours the artist had used. Any details in the original maybe visible when seen in person but in a postcard they will disappear.

Exercise: Annotate a Renaissance Image

I’ve chosen to annotate Jan van Eyck’s “Winged Altarpiece (Virgin and Child with St. Michael, St. Catherine and a Donor)”.  I downloaded it from Bridgeman but there wasn’t a lot of additional information about it so I googled to see if I could find anything and one of the first websites that came up in the search was this

Exercise: Humanism

For this exercise I first looked up the definition of Humanism

Definition of humanism
  • a rationalist outlook or system of thought attaching prime importance to human rather than divine or supernatural matters.
  • (often Humanism) a Renaissance cultural movement which turned away from medieval scholasticism and revived interest in ancient Greek and Roman thought.
  • (among some contemporary writers) a system of thought criticized as being centred on the notion of the rational, autonomous self and ignoring the conditioned nature of the individual.
  • encouraged a new focus on the virtues and deeds of individual human beings who had left their mark on history. p.16 ‘The Changing Status of the Artist’

1) Did an interest in humanism mean a movement away from Christianity?

From what I have read ‘the humanist philosophy stressed the dignity of humanity and in the process shifted the intellectual emphasis from theology and logic’.   Obviously there wasn’t a move away from Christianity as such because some of the greatest pieces of art we know were created during the Renaissance.

2) How was an interest in the classical world reflected in Renaissance art?

  • it encouraged emulation of ancient models in art.  The rediscovery of ancient art in Italy during the Renaissance parallels the revival of ancient literature.  p.17 ‘The Changing Status of the Artist’
  • it encouraged artists to aspire to the fame achieved by their ancient predecessors with the possibility of being memorialized in a biography, in their turn.  p.17 ‘The Changing Status of the Artist’
  • for painters, humanism made its most direct impact in opening up a new range of subject matter based on ancient precedent.  p.18 ‘The Changing Status of the Artist’

Was it possible successfully to combine Christian and classical elements in painting, sculpture and architecture?  Try and come up with some examples.

I’ve found a lot of examples of how artists in the Renaissance successfully combined Christian and classical elements in their works.

Update After discussion on the Student forum about copyright I have removed the pictures I had put here and replaced them with links.

1. The Rolin Madonna by Jan van Eyck – combines the Madonna and Child with classical arches and view through them.

2.  The Annunciation by Fra Filippo Lippi – combines New Testament with classical arches and building in background.

3.  Moses being tested by the Pharaoh by Giorgione – Bible story but with figures dressed in fashion of the period it was painted in 1502-05.


The Changing Status of the Artist edited by Emma Barker, Nick Webb and Kim Woods

Exercise: Annotate a Gothic image

One of the suggestions for this exercise is a page from the Book of Kells and as I have an interest in Calligraphy I’ve chosen an illuminated page to annotate.

You can view it online here

I found these on Youtube


Research Point: Linear Persepective

Do some research into the theory and practice of linear perspective and try it yourself by making some perspective drawings in your sketchbook.

The discovery of perspective is attributed to the architect Filippo Brunelleschi (1377-1446), who suggested a system that explained how objects shrink in size according to their position and distance from the eye. However, the nature of Brunelleschi’s system and date of its discovery remain unclear.

In 1435, Leon Battista Alberti (1404-1472), provided the first theory of what we now call linear perspective in his book, On Painting. The impact of this new system of measurement in paintings was enormous and most artists painting in Europe after 1435 were aware of the principles Alberti outlined in his book. First, an artist created a “floor” (a ground or stage on which figures and objects would be placed) in a painting and drew a receding grid to act as a guide to the relative scale of all other elements within the picture. Alberti suggests relating the size of the floor squares to a viewer’s height. This suggestion is important because it reveals an underlying principal of the Renaissance. The act of painting would no longer be to glorify God, as it had been in Medieval Europe. Painting in the Renaissance related instead, to those people looking at the painting.


You can read lots of books on this subject but sometimes you need to see it in practice.