Although there are many contrasts to the works, a close examination reveals similarities. Jardine and Hall discuss continuous communication across space as a way of transmitting culture and ideas. In both books, a body of water, the narrow sea and the Atlantic oceans represents the space that provides the media for transference. As culture impacts art and vice versa, both scholars focus on a particular art form or multiple art forms contributing to a mutual marriage. This cultural relationship is strengthened by ongoing exchange. Both works also discuss economic interest as a catalyst of exchange. Jardine uses art dealers and opportunistic collectors as drivers of the exchange. For Hall’s part, a collaboration of writers, printers, and booksellers take on this role. Personal profit proves to be an incentive for ongoing exchange. Furthermore, on both sides of each scholar’s particular space, the cross cultural exchange succeeded local changes particular to each locale. This paper discusses these local catalysts in the following paragraphs that discuss each work’s uniqueness. These paragraphs will also reveal the specific evidence that establishes the aforementioned similarities between the two books. The summary of the similarities are clear – interaction between peoples separated by a space, as far as Jardine and Hall are concerned, creates a familiarity between the two peoples resulting in changes on both sides that favor continuation of the relationship.
For Lisa Jardine’s part, she examines an exchange of art, music, science, architecture, interior and exterior design. By the time of the Glorious Revolution in 1688, England had adopted many Dutch and continental forms. Dutch art rose popularity in England in the years precedi...
... middle of paper ...
...re that impacted personal relationships, the appearance of civilization, and mutual technological advancements. The new landscape could not have been possible without the elite drivers and succeeding middling accompaniment. For Hall, middle class settlers fleeing religious persecution transmitted their faith and need or learning and information to a new space thousands of miles away dwarfing Jardine's comparable narrow space between England and Holland. The ongoing relationship between England and her northernmost colony in the seventeenth century led to a profitable exchange of ideas that contributed to English literature, the emerging American literature, and drastic reformation of Puritan ideals. These work show that this type of communication across short and long distances, and between ethnically and politically differing peoples contribute to mutual benefits.
This chapter, “Three Old Worlds Create a New, 1492 – 1600,” covers the social, political and economic events that occurred in the worlds that made up America between 1492 and 1600. This chapter explores the history of the small societies that became the United States in broad contest of European exploration and exploitation. There existed conflicts between European kingdoms and this led to interest in colonies that strengthened the emerging nations. The curiosity of Europeans helped introduce them to African and American societies that had evolved over the centuries. The social and cultural collisions of these worlds changed and profoundly influenced Western history.
During the 1600’s the New England and Chesapeake regions were beginning to settle and colonize. While both came from English origin and had dreams of wealth and freedom, differences began to form just as they settled and by the 1700s the two regions will have evolved into two distinct societies. Because of the exposure to different circumstances both regions developed issues that were unique from one another and caused them to construct their societies differently. Therefore, the differences socially, politically and economically in the two regions caused the divergence.
In the 1600’s, America was the new world, and the land of opportunity, which spurred settlers to travel to the region seeking religious freedom or economic success. However, as the colonies of New England and Chesapeake were settled, they had contrasting viewpoints on how they should live, and manage their newly occupied settlements. These viewpoints correlated to specific problems arising in each area. For example, the New England colonies experienced the witchcraft scare, and the Chesapeake colonies experienced civil uprisings like Bacon’s rebellion. To better understand why these colonies experienced contrastingly different problems, a closer look is required of the two colonies social, economic, and religious viewpoints, which contributed
Davies, P. J. E., Denny, W. B., Hofrichter, F. F., Jacobs, J., Roberts, A. M., Simon, D. I., (2011). Janson’s History of Art: The Western Tradition (Ed. 8, pp. 737-759). London: Laurence King Publishing Ltd.
While both the people of the New England region and of the Chesapeake region descended from the same English origin, by 1700 both regions had traveled in two diverse directions. Since both of these groups were beset with issues that were unique to their regions and due to their exposure to different circumstances, each was forced to rethink and reconstruct their societies. As a result, the differences in the motivation, geography, and government in the New England and Chesapeake regions caused great divergence in the development of each.
The 18th century is well known for its complex artistic movements such as Romantism and Neo-classical. The leading style Rococo thrived from 1700-1775 and was originated from the French words rocaille and coquille which meant “rock” and “shell”; used to decorate the Baroque gardens1. Identified as the age of “Enlightenment”, philosophers would ignite their ideas into political movements1. Associated with this movement is England’s John Locke who advanced the concept of “empiricism”. This denotes that accepting knowledge of matters of fact descends from experience and personal involvement1. Locke’s concept assisted the improvements of microscopes and telescopes allowing art students in the French academy to observe real life1. Science and experience influenced painting more so in Neo-Classicalism. Locke fought for people’s rights and the power or “contract” between the ruler and the ruled. Reasoning that “the Light in Enlightenment referred to the primacy of reason and intellect…and a belief in progress and in the human ability to control nature”1. Hence, the commence of experimental paintings such as Joseph Wright’s (1734-1797) oil on canvas painting: Fig.1 An Experiment on a Bird in the Air Pump. This image was developed through science by placing a bird in glass container and pumping air to see the effects it would have on the bird (White cockatoo)1. Throughout the late 18th and early 19th century in Western Europe, Neo-Classical art became the “true Style” and was accepted by the French Revolution under Louis XIV. Neo-Classical art was a reaction to Rococo’s light hearted, humour and emotion filled pieces.
Often when looking at American history, people tend to lump all the characters and actors involved as similar. This is especially the case in regards to Early American Colonial history. Because the Puritan communities that grew rapidly after John Winthrop’s arrival in 1630 often overshadow the earlier colony at Plymouth, many are lead to assume that all settlers acted in similar ways with regard to land use, religion, and law. By analyzing the writings of William Bradford and John Winthrop, one begins to see differing pictures of colonization in New England.
In the 1600s the land of Massachusetts Bay and Virginia were the first two regions to be colonized in the New World. Both colonies, New England and Chesapeake, had each of their own separate failures and of course, their successes. Virginia’s colony focused immensely on labor and profit which took the attention away from forming community infrastructure and stability which is what allowed Massachusetts Bay to start their settlement on the right foot. Massachusetts Bay, or New England, Puritans were looking for a community wholly or at least predominantly based on religion causing conflict with the church of England. Chesapeake’s uncharitable and irrational behaviors kept them from forming the rather more important characteristics of a community. These perspectives and actual flourishing accomplishments of these two colonies, the Massachusetts Bay colony thrived in all the relevant places: Labor, economy, and community.
Johnson, Geraldine A. Renaissance Art, A Very Short Introduction. New York: Oxford University Press, 2005.
John P. McKay et al., Understanding World Societies A Brief History Volume 1 to 1600. Boston: Bedford/St. Martin’s, 2010. Print.
In “Art vs. Trade” by James Weldon Johnson, two entities in a society are examined. These two characters have a challenging relationship with each other due to their respective roles within society. However, they share similar behaviors and patterns. To understand what causes the interactions between these two entities and how each are affected by it, this poem must be analyzed with the Marxist Theory.
In the article “Conditions of Trade,” Michael Baxandall explains that fifteenth-century Italian art is a “deposit” resulting from the commercial interaction between the artist and the purchaser, who he refers to as a client. These works, as such, are “fossils of economic life,” and money, and they play an important role in the history of art. In our current perception of the relationship between the artist and art, “painters paint what they think is best, and then look around for a buyer” . However in the past, especially during the Renaissance period, the customers determined the content and form of paintings, as it was them who commissioned the work before it was created. He states that the artists and clients were interconnected and a legal agreement was drawn up specifying subject matter, payment scheme and the quality and quantity of colors, which would influence the artist’s painting style. Baxandall not only looks at the explanation of the style of painting that reflects a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the situations between the painter and client within the commercial, religious, perceptual, and social institutions, centrally focusing on markets, materials, visual practices, and the concept of the Renaissance period, which saw art as an institution. Baxandall notes that Renaissance paintings also relate to the clients’ motives through such ways as possession, self-commemoration, civic consciousness, and self-advertisement. The author considers works of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies fiftee...
“Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness.” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
Peter Paul Rubens, the epitome of influential educated artist of the 17th century, studied the “works of Veronese, Tintoretto, Titian and Caravaggio.” (Baroque Art n.d.) and even went through the hassle of reproducing one of Leonardo’s drawings to show that he had understood the composition and style of Italian Renaissance art. Having been raised in Belgium, Peter Paul Rubens was familiar with Flemish Traditional art which was primarily landscape and portraiture, consisted of vivid detail with reserved composition.
O’Donnell, Sr., Joseph J.. “Art and the French Revolution”. The Eerie Digest, May 2013. Web. 5th May 2013.