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Design history is the study of objects of design in their historical and stylistic contexts. [1] With a broad definition, the contexts of design history include the social, the cultural, the economic, the political, the technical and the aesthetic.
In the traditional scheme of art history, Ottonian art follows Carolingian art and precedes Romanesque art, though the transitions at both ends of the period are gradual rather than sudden. Like the former and unlike the latter, it was very largely a style restricted to a few of the small cities of the period, to important monasteries , as well ...
Venus de Milo, at the Louvre. Art history is, briefly, the history of art—or the study of a specific type of objects created in the past. [1]Traditionally, the discipline of art history emphasized painting, drawing, sculpture, architecture, ceramics and decorative arts; yet today, art history examines broader aspects of visual culture, including the various visual and conceptual outcomes ...
The concept of unity in variety was further developed in the early 1700s by Francis Hutcheson, who declared that excitement is generated by "Uniformity amidst Variety", which generates a "disinterested" pleasure (i.e., the one with no regard for practical issues, like existence of the considered object or the wants of the body, like thirst).
Training in the visual arts has generally been through variations of the apprentice and workshop systems. In Europe, the Renaissance movement to increase the prestige of the artist led to the academy system for training artists, and today most of the people who are pursuing a career in the arts train in art schools at tertiary levels.
The second major principle of beauty is variety. It is the source of beauty, which Hogarth shows us by the contrary notion of "sameness": "sameness", a lack of variety, offends the senses. "The ear is as much offended with one even continued note, as the eye is with being fix'd to a point, or to the view of a dead wall."
Victorian design is widely viewed as having indulged in a grand excess of ornament. The Victorian era is known for its interpretation and eclectic revival of historic styles mixed with the introduction of Asian and Middle Eastern influences in furniture, fittings, and interior decoration .
14th-century Islamic ornament in ivory, centred on a palmette; Alois Riegl's Stilfragen (1893) traced the evolution and transmission of such motifs.. Classical art criticism and the relatively few medieval writings on aesthetics did not greatly develop a concept of style in art, or analysis of it, [12] and though Renaissance and Baroque writers on art are greatly concerned with what we would ...