While artistic style is well known to have altered and developed over the course of history, the individual and often secondary objects depicted within a piece of artwork can illustrate just as much about the era of history as the overall style and image as a whole. In the words of Timothy Brooks, the author of Vermeer’s Hat, “If we think of the objects in them not as props behind windows but as doors to open, then we will find ourselves in passageways leading to discoveries about the seventeenth century world that the paintings on their own don’t acknowledge.” Throughout Vermeer’s Hat Brooks does just this as he explores the singular, seemingly unimportant details of a painting to explain the driving force of European history at that point. During the seventeenth century, the world was facing an explosion of change due to the expansion of world trade that caused the collision of previously separate societies. While many historians view history through the lens of a few powerful political figures, Brooks takes a much more indirect but still effective approach to the details of globalization and how they affected common life in Europe at that time. Throughout Vermeer’s Hat, Timothy Brooks utilizes artwork to demonstrate how the European expansion of global trade, particularly with the Chinese, drove the economic, technological, and social changes in the lives of the European masses during the seventeenth century.
Economically, the world as a whole was shifting due to the new markets in world trade from globalization. As trade with the world expanded, the ability of the common people of Europe to afford expensive luxury goods that had normally been restricted to the wealthy who participated in conspicuous consumption. With t...
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...s, Brooks gives a more personal and gripping account of history that is refreshing in comparison to what is found in many history books. When investigating eras of history which bring sweeping change to the entire world, looking beyond the powerful elite into the lives of the individuals who dealt with and pushed for the changes presents an opportunity to understand what drove these individuals to make changes. Europe in the seventeenth century experience radical changes economically, technologically, and socially as a result of globalization; these changes, both good and bad, would shape and prepare it for further changes in the coming years. In writing Vermeer’s Hat, Timothy Brooks truly grasps the power of looking at these changes through art as a door into the lives of the individuals in the European masses.
Works Cited
Timothy Brooks, Vermeer's Hat
Vermeer’s Hat offers a unique look at the rise of global trade through Brook’s eyes. Brook uses each of the paintings to describe to the audience a different picture of how the world began progressing. Most think of Vermeer as an isolated artist, with no real connection to the world outside of the walls of his mother-in-law’s house. However, as Brook shows us throughout the story, this could not be further from the truth. Brook relies on the paintings to interpret the rise of global trade to show the audience how architecture has contributed to the rise of global trade, how specific objects in the paintings related to trade, and how geography influenced trade.
Even though an individual’s response is subjective, hermeneutical aesthetics focuses on interpretive incompleteness as part of the way human, viewers of artworks included, are in the world. An artwork is always experienced in the present from a particular present point of view and its interpretation is the transmission of meanings across time. In this way the artworks discussed in this thesis bear witness to particular historical events and allow for possible projections of those past events into the future. Contemporary life is permeated with a diversity of visual information. In such an atmosphere the hermeneutic approach provides a way of understanding the applications of the meaning we make of visual input. In light of it, the responsibility of both artist and viewer is among the issues discussed in the last part ‘Beyond Horizons’. Here the perspective moves to weave together the threads of ideas and issues that have been identified in the ‘Fusion of Horizons’ section, and reflects on aspects that reverberate beyond the shifting possibilities within the
The Renaissance has not ceased to be an age of discussion and debate among historians throughout the recent centuries. The vibrant nature of the era marks it as a most fascinating period of history. The Renaissance can be described as an age carrying the essence of “self-discovery and fulfillment, of recognition of human worth, and a dynamic outpouring of artistic activity.” This new world flourishing with art and creative optimism was also steeped in a spirit of “revolt of the Medievalists.” In an effort of “rebirth,” the previous culture of the Middle Ages was rejected, and even scorned. Foundational principles in all fields were overstepped, and old cultural norms were practically obsolete. It was an era whose humanistic philosophy greatly impacted the lens through which man viewed himself and the world.
Veblen’s work was, and continues to be, quite controversial; however, his dissections of human behavior as it relates to social structure and consumption were far from inaccurate. Interestingly enough, it seems that his theories have even become increasingly accurate over time, as proved by the way conspicuous consumption and “Veblan effects,” have both played a significant role in changing not only the luxury fashion industry as a whole, but also in changing the image and symbolic nature of the luxury good.
Despite the nature, origins and even existence of the Renaissance being subject to intensive investigation by many historians, the traditional understanding of the European renaissance as being defined as the bridge between the Middle Ages and modern era has resonated in society throughout time. Exemplified through the influx of creative arts, literature and philosophy of that time, Swiss cultural historian Jacob Burckhardt defined this bridge as being the result of an immense intellectual transformation in humanity. In fact, the term ‘renaissance’, coined by the French historian Jules Michelet, can be translated to mean ‘new birth’ or ‘rebirth’. Spanning roughly through the 14th to 17th centuries, the renaissance is often recognised as the time of a revolution of cultural revitalization and exploration. These traditionalist ideas of the Renaissance as developed by Michelet and later expanded by Burckhardt were however ultimately disposed by revisionist historians like Charles Homer Haskins who began a revolt against Renaissance idea, motivated by the goal to deny the era any legitimate historical existence and annex the period to the middle ages. However, the perspectives of these historians in this debate are ultimately a reflection of their own context and purposes. Both Michelet and Burckhardt’s approach reflect their own 19th-century world, whilst Haskins was heavily influenced by his liberal, optimistic 20th-century ideals. A more contemporary approach to the debate is exemplified through historiographer Wallace K. Ferguson. Ferguson had chosen to focus and draw conclusions from the mirrored reflections and controversies surrounding the Renaissance idea that persisted amongst past historians. However, despite argua...
In the article “Conditions of Trade,” Michael Baxandall explains the interaction serving of both fifteenth- century Italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early Renaissance painting. Baxandall looks not only on the explanation of how the style of painting is reflected in a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the central focus on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. He observes a Renaissance painting, which relate the experience of activities such as preaching, dancing, and assessing. The author considers discussions 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 concepts used in contemporary critic of the painting, and in the assembled basic equipment needed to discover the fifteenth- century art. Therefore this introductory to the fifteenth- century Italian painting and arise behind the social history, argues that the two are interconnected and that the conditions of the time helped shape the distinctive elements in the artists painting style. Through the institutional authorization Baxandall looks at integration in social, cultural and visual evaluation in a way that shows not only the visual art in social construction, but how it plays a major role in social orders in many ways, from interaction to larger social structural orders.
“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.
The shift between the Middle Ages and Renaissance was documented in art for future generations. It is because of the changes in art during this time that art historians today understand the historical placement and the socio-economic, political, and religious changes of the time. Art is a visual interpretation of one’s beliefs and way of life; it is through the art from these periods that we today understand exactly what was taking place and why it was happening. These shifts did not happen overnight, but instead changed gradually though years and years of art, and it is through them that we have record of some of the most important changes of historic times.
O’Donnell, Sr., Joseph J.. “Art and the French Revolution”. The Eerie Digest, May 2013. Web. 5th May 2013.
Therefore, commerce flourished in Europe and Neo Europe, financial transactions, from Amsterdam, to China, started to be a common affair. The preciosities of yesterdays, now, were everyday commodities and not longer privileged goods only for the few.
For one, luxury can be defined through good health. For another, luxury can be defined through comfort. To many, luxury is defined through lavish possessions such as cars or jewelry. Regardless of how we perceive luxury, there is a journey behind how we achieve it. Cartier produced an exquisite commercial to celebrate the brand’s history. With the worldwide icon, the leopard, we went through the odyssey of Cartier’s history. The commercial started with a leopard statue of diamonds and jewels coming alive which symbolized the birth of the legacy of Cartier, the start of the odyssey. Then we start watching the leopard visit significant places of Cartier’s history: China, India, and France. All these places are important to the luxury industry. After the journey across different continents, we finally arrive in Paris where Cartier was founded, where
When analyzing artwork, in any form, there are often times social contexts in which can be interpreted. Not always does the history behind the painting need to be revealed to fully understand the concept of the artwork, yet it is helpful in determining if the artwork is truthful in its representation. Although in analyzing artwork it is likely that there are drawbacks to considering the social context. To illustrate this point, I'm going to use the visual arts as my medium of choice. Understanding the social context can be an important tool. An advantage of knowing the history of the painting or sculpture can really enrich our knowledge, being in the 21st century, about some of the social periods from previous times. It can demonstrate how traditions were carried out, how they had an impact on the different social classes. It's a visual teaching aid of a sort. Even in the time period of which the artwork was created can be used as a tool to show how the life was in different parts of the world. It was also used as a hammer in the realist movement to show the upper classes that life for the poor was horrible. The visual arts is the only medium in which the pictorial image creates a universal language in which anyone, regardless of nationality or social class can interpret. The text which is created by this language often creates a context which is left open to interpretation. Contexts are created by the artist, critics, judges, the public, essentially, any one who views the work and forms an opinion relating to it. The contexts stem from subject or content of an artwork, and are usually facts regarding the content. Yet, the contexts almost always have backgrounds themselves, therefore making the original contexts, texts. This will be more clearly illustrated later. The chain is seeming to be a never ending process. There are always more conditions to the previous ones. All context, therefore, is in itself, textual. This concept of all context in itself textual is a post-structuralist strategy. A man named Derrida is a man who has developed this idea that the post-structuralist concept of every statement made, can be interpreted in infinite ways, with each interpretation triggering a range of subjective associations. Every statement has an association, therefore it's a sort of domino effect.
...t is Impressionism. We see that without Paris and its artists there would have been be no break from the traditions and regulations laid down by the L’École des Beaux-Arts and Le Salon. Without Paris the movement would not have gained the recognition that it did. It was aided by the industrial revolution, the Haussmann project, the growth of le café and the revenue from trade by Parisian art dealer Paul Durand-Ruel. We also note how Paris was highly influential in the subjects of impressionist paintings. We see how the camera and colour theory influenced their work as well as how the modern cityscape and social interactions consumed their creations. Even today Paris plays a role in Impressionism. Its museums house some of the greatest examples of period impressionist work on view, showing that nearly two centuries later Paris is still at the heart of Impressionism.
Relationship Between Art And Society: Mimesis. The relationship between art and society: Mimesis as discussed in the works of Aristotle, Plato, Horace and Longinus. The relationship between art and society in the works of Plato is based upon his idea of the world of eternal Forms. He believed that there is a world of eternal, absolute and immutable Forms (the world of the Ideal) and thought that this is proven by when man is faced with the appearance of anything in the material world, his mind is moved to a remembrance of the Idea or an absolute and immutable version of the thing he sees.
“Despite worldwide softness in the sale of luxury goods, LVMH has cemented its position as the world’s largest and most profitable player in the category. To stay there it must keep its customers loyal and its brand strong and find new markets worldwide” (Hazlett C. 2004). That is why in its mission they state to represent the most refined qualities of Western “ art de vivre” all around the world. Their objective is to be the leader in the luxury market, continuing to transmit elegance and creativity. This poses some major challenges, the main one is to keep being the leader in the luxury market through a sustainable growth. The main problem to achieve it is the high dependency on three main countries, France, Japan and USA. This becomes a threat because if there is an economic downturn in one country it affects LVMH directly that is why.