THE ACADEMIES, SEVENTEENTH CENTURY, AND MA'AM LISA'S STUDY GUIDE

The Church used art as a tool for religious education, believing images helped explain sacred texts, especially for non-readers.

Pope Gregory the Great emphasized that pictures were like visual texts, not objects for worship.

Guilds were organizations that focused on the practical skills needed for art making, creating, and selling.

Art training involved a long apprenticeship (around 7 years) before becoming a journeyman and eventually a master.

Guilds emphasized practicality, raising questions about originality and authenticity in their work.

Cennini's book provides insight into artists' self-perception and artistic practices in the late Middle Ages.

Cennini saw artists as connected to God through reverence and subservience, acknowledging the inheritance of knowledge from masters.

Cennini viewed painting as a result of Adam and Eve's fall from grace, but also a way to achieve redemption through artistic expression.

The revival of the concept of an academy as a place of learning, particularly for artists in 15th century Florence. It was a response to the rediscovery of ancient Greek philosophy and the need for a structured system to train artists.

The first formal art academy founded in Florence, established by Giorgio Vasari and Cosimo I de' Medici. It was aimed at uniting artists around the concept of "disegno", encompassing design, drawing, and creativity. It aimed to liberate artists from the constraints of the medieval guild system.

A formal art academy in Rome founded in the late 16th century. Similar to Accademia del Disegno, it aimed to elevate the artist's social standing and provide intellectual training. It also admitted non-artists, such as noblemen and art lovers, creating a diverse community.

The French Royal Academy of Painting and Sculpture, established in 1648 by Jean-Baptiste Colbert under King Louis XIV. It aimed to standardize artistic practices and create a style of art that glorified the French monarchy.

One of the key elements of the Academie Royale de Peinture et de Sculpture: Artistic training focused on established styles and examples, discouraging originality. This emphasis sought a clear, direct, and symmetrical style, which became known as French Classicism.

The artist's ability to mentally conceive and execute their work. This concept distinguished art from mere craft, elevating the artist's status and emphasizing their intellectual capabilities.

Leonardo da Vinci's proposed curriculum for artistic training, emphasizing core elements such as perspective, proportion, and drawing from nature and the teacher's work.

The distinction between "mechanical crafts" and the "intellectual work" of the artist, a key concept introduced by Leonardo da Vinci. This distinction emphasized the mental processes involved in art, elevating the artist's status.

A system where art forms are ranked based on subject matter, with religious scenes held in the highest regard. This hierarchy reflects the values and power dynamics of the time.

The idea that beauty and perfection exist independently of the real world, and artists have the duty to recreate this ideal in their works.

A theory that focuses on expressing emotions through facial expressions and body language, suggesting that emotions can be categorized and systematized.

A heated debate where 'Ancients' believed in adhering to classical art forms, while 'Moderns' advocated for new artistic approaches and the power of color.

Public exhibitions of art organized by the Academie, which contributed to the rise of art criticism and the wider appreciation of art.

The institution that replaced the French Academie in the 19th century, continuing to shape the art world by providing education and training.

Johan Winckelmann's seminal work, published in 1764, is considered a foundational text in the development of art history.

Franz Kugler became the first art historian professor in 1833, signaling the establishment of art history as a recognized academic field.

Jakob Burckhardt, a student of this period, played a crucial role in shaping the development of modern art history.

German universities dominated the field of art history until the 1930s, while practical training remained in art academies.

Oxford, Cambridge, and University College London introduced university art courses in the late 19th century, marking the spread of art history in the English-speaking world.

Charles Eliot Norton, drawing inspiration from Ruskin, emphasized the civilizing influence of art and introduced art history lectures and studio training at Harvard.

Yale and Syracuse established art schools, while Princeton sought to establish art history as a separate discipline.

Early American art history prioritized factual knowledge over subjective interpretation, reflecting a potential distrust of subjective aspects of art.

The academy, a site of learning in art, has evolved from its roots in churches and guilds to become a space for both practical skills and intellectual development.

The French Academy played a crucial role in shaping artistic conventions, hierarchies, and the relationship between art and the state, influencing art and its perception in Europe.

The shift from traditional academies to university art training in the 20th century led to the professionalization of art history and the inclusion of critical theory in the study of art.

Art history grapples with questions of purpose and direction, seeking to balance the need for academic rigor with connecting to a wider audience.

Despite its established position, art history continues to evolve and adapt, seeking to balance the demands of academic rigor with the need for engaging a broader public and remaining relevant.

German-Jewish art historians fleeing Nazi persecution brought theoretical depth to American art history, which was previously focused on factual objectivity.

Erwin Panofsky, a prominent German-Jewish art historian, described the encounter between American and German art history as a clash between 'Anglo-Saxon positivism' and German theoretical depth.

American art history became more theoretical, incorporating ideas from Marxism, psychoanalysis, and other disciplines.

James Ackerman expressed concerns about the direction of American art history in the 1950s, criticizing the focus on chronological surveys that prioritized training future art historians instead of engaging a wider audience.

A 1960s report by the College Art Association highlighted the 'cautious tone and conservative temper' of American art history, attributing it to the academic environment's emphasis on conformity over originality.

The development of slide projectors in the 1930s revolutionized art history teaching, allowing for visual comparisons across time and location, but also raising concerns about oversimplifications and false analogies.

E.H. Gombrich highlighted the innovative lecture methods of Heinrich Wölfflin, who used dual slide projections to compare and contrast artworks.

Despite the potential for oversimplification, the comparative method has become a dominant teaching tool in American art history classrooms.