I feel so sad, what happened to your videos?? I’m taking AP art history right now and I loved watching your videos as a reviewer. I hope you start posting again, I really miss your videos:((
As a huge fan as well as student of the Symbolist movement, not just the paintings, but the writings as well, I was excited to think that some new information about symbolism was going to be revealed. However, that is not the case. In fact, I found quite a few of your points of information to be incorrect. For example, The Scream had been reproduced several times by Munch. It was not one of his early paintings. He had created several works before The Scream. It is a small piece made from pastels. Rather than created with gestural sweeps, it was obsessively drawn. I could go on. I do appreciate the effort you took to bring such an underappreciated section of art into the light.
Interestingly, Munch's The Scream has been linked to the brilliant red sunsets seen around the world in the years following the 1883 eruption of Krakatoa. I can see how that might have a negative effect on someone already pron to anxiety and fear.
I've heard extensively about the impact of Krakatoa's eruption on the climate at the time. While I've never experienced a volcanic eruption, fires come pretty close: I'm in fire-prone southern California and the sky and sun turn blood-red when there's a blaze close by. The ash irritates the eyes and throat, and the smell and the way the light dampens creates a deep sense of foreboding. The black smoke against the red sky makes you feel like Hell itself is encroaching upon you; it's absolutely surreal.
@@FleetsAPArtHistory I'm up in British Columbia and we have increasingly bad fire seasons so I I've experienced the same thing. I also have vague childhood memories of the Mt. St.Hellen's eruption which covered my house' deck in ash and let the sky a hazy orange colour for days. Nature can be quite impressive!
Massive thanks for making these videos, they've been super helpful in studying for the AP Exam! I watched the Unit 3 and 4 playlists and wonder if you have any videos cover the following required works? Arnolfini Portrait Adam & Eve Isenheim Altarpiece Allegory of Law & Grace Hunters in the Snow Les Demoiselles d’Avignon The Steerage Brancusi’s The Kiss The Portuguese Goldfish Improvisation 28 Self-Portrait as a Soldier Memorial Sheet for Karl Liebknecht Villa Savoye Composition w/ Red, Blue, and Yellow Illustration from The Results of the 5 Year Plan Object(Le déjeuner en fourrure) Fallingwater The Two Fridas The Migration of the Negro, Panel No. 49 The Jungle Dream of a Sunday Afternoon in the Alameda Park Fountain(second version) Woman, I Seagram Building Marilyn Diptych Narcissus Gardens The Bay Lipstick(Ascending on Caterpillar Tracks Spiral Jetty House in New Castle County
Do you think you'll be posting classes on modern movements? I've been watching all your classes since the Renaissance (the video to be clear) and I'd love your inputs on the historical context and nuances of modern ones
5 minutes in and I simply CAN'T any longer. This "teacher" is stunningly inarticulate, ill-informed, and ignorant about the subject matter. One might expect a lecture on 'symbolism in art" to cover classical symbolism, mythology, and more universal symbols (see the work of a REAL TEACHER, like Joseph Campbell to really learn about this topic). For example, flies and or skulls in a still life representing the ephemeral nature of the temporal plane. Instead, we get the same relativistic, say-nothing word salad of the modern Liberal Arts education. Her "analysis" of Munch's The Scream made ME want to scream.
Oh sweetie, there's no need to be so angry: you see, if you had had the patience to sit through the entirety of the lecture--which many of my teenage students have no problem doing, by the way--you would have learned that Symbolism, like many things, is not necessarily as straightforward as skulls = memento mori and flies = vanitas: that was soooo 16th century, and the modern age was all about innovation. If you understood the broader strokes of this unit (which I'm sure you don't, but that's not my fault), you would be able to place Symbolism within the context of its time: the late 19th and early 20th centuries, where artists are no longer necessarily bound by the wishes and whims of well-established patrons like kings and religious authorities and are finally able to draw and paint and sculpt what they please and in the manner they please. We also have the emergence of the avant-garde (that's French for 'vanguard,' the ships in a fleet that sail before the rest: the trailblazers, if you will), which sees artists creating works featuring subjects and art-making methods that had not been seen before in this part of the world, so it stands to reason that we would be straying away from tradition rather than helplessly clinging to it. Symbolism sometimes involves the utilization of symbols that were not always well understood by the audience: I can imagine that, rather than catering to the whims of simpletons who would throw a fit if the inclusion of a skull in a painting didn't mean death, some practitioners of Symbolism didn't really give a damn whether people 'understood' their work or not: it was meaningful and significant to them, and sometimes only them (I think that's pretty rad, even if it's, as you put it, 'stunningly inarticulate' for me to say so). I'll give you an example of my own personal Symbol now, to really drive the point home: from now on I will personally and unequivocally equate Mini Coopers with angry little bullies that have no means to channel their aggression but to post anonymous and strangely angry comments on teachers' CZcams videos. Because, seriously? Get a life! Go for a run, or get a non-destructive hobby! Also, while I've still got your attention: you do realize that the term "relativistic, say-nothing word salad" is...wait for it...relativistic, say-nothing word salad, right? Like, I was going to delete your comment, but now I'm just going to keep it so that I can come back and laugh at you some more later. Have a nice night!
Thank you so much for posting all these lectures. I've been using them all year as a study resource and am constantly impressed by the quality!
What a pleasure watching and listening to this. Truly food of thought and the imaginative dimesion. Thank you!
I feel so sad, what happened to your videos?? I’m taking AP art history right now and I loved watching your videos as a reviewer. I hope you start posting again, I really miss your videos:((
You're in luck, because I'm posting one as we speak! Thanks for your continued support!
Where are the lectures surrounding the art from the 1900's before global contemporary?
I remember there are a couple more works between this and the next unit?
As a huge fan as well as student of the Symbolist movement, not just the paintings, but the writings as well, I was excited to think that some new information about symbolism was going to be revealed. However, that is not the case. In fact, I found quite a few of your points of information to be incorrect.
For example, The Scream had been reproduced several times by Munch. It was not one of his early paintings. He had created several works before The Scream. It is a small piece made from pastels. Rather than created with gestural sweeps, it was obsessively drawn.
I could go on. I do appreciate the effort you took to bring such an underappreciated section of art into the light.
Interestingly, Munch's The Scream has been linked to the brilliant red sunsets seen around the world in the years following the 1883 eruption of Krakatoa. I can see how that might have a negative effect on someone already pron to anxiety and fear.
I've heard extensively about the impact of Krakatoa's eruption on the climate at the time. While I've never experienced a volcanic eruption, fires come pretty close: I'm in fire-prone southern California and the sky and sun turn blood-red when there's a blaze close by. The ash irritates the eyes and throat, and the smell and the way the light dampens creates a deep sense of foreboding. The black smoke against the red sky makes you feel like Hell itself is encroaching upon you; it's absolutely surreal.
@@FleetsAPArtHistory I'm up in British Columbia and we have increasingly bad fire seasons so I I've experienced the same thing. I also have vague childhood memories of the Mt. St.Hellen's eruption which covered my house' deck in ash and let the sky a hazy orange colour for days.
Nature can be quite impressive!
Massive thanks for making these videos, they've been super helpful in studying for the AP Exam! I watched the Unit 3 and 4 playlists and wonder if you have any videos cover the following required works?
Arnolfini Portrait
Adam & Eve
Isenheim Altarpiece
Allegory of Law & Grace
Hunters in the Snow
Les Demoiselles d’Avignon
The Steerage
Brancusi’s The Kiss
The Portuguese
Goldfish
Improvisation 28
Self-Portrait as a Soldier
Memorial Sheet for Karl Liebknecht
Villa Savoye
Composition w/ Red, Blue, and Yellow
Illustration from The Results of the 5 Year Plan
Object(Le déjeuner en fourrure)
Fallingwater
The Two Fridas
The Migration of the Negro, Panel No. 49
The Jungle
Dream of a Sunday Afternoon in the Alameda Park
Fountain(second version)
Woman, I
Seagram Building
Marilyn Diptych
Narcissus Gardens
The Bay
Lipstick(Ascending on Caterpillar Tracks
Spiral Jetty
House in New Castle County
You should check out smarthistory! That is a very similar channel that covers lots of these artworks and subjects :)
wow thank you so much #lifesaver
Do you think you'll be posting classes on modern movements? I've been watching all your classes since the Renaissance (the video to be clear) and I'd love your inputs on the historical context and nuances of modern ones
5 minutes in and I simply CAN'T any longer.
This "teacher" is stunningly inarticulate, ill-informed, and ignorant about the subject matter.
One might expect a lecture on 'symbolism in art" to cover classical symbolism, mythology, and more universal symbols (see the work of a REAL TEACHER, like Joseph Campbell to really learn about this topic). For example, flies and or skulls in a still life representing the ephemeral nature of the temporal plane.
Instead, we get the same relativistic, say-nothing word salad of the modern Liberal Arts education.
Her "analysis" of Munch's The Scream made ME want to scream.
Oh sweetie, there's no need to be so angry: you see, if you had had the patience to sit through the entirety of the lecture--which many of my teenage students have no problem doing, by the way--you would have learned that Symbolism, like many things, is not necessarily as straightforward as skulls = memento mori and flies = vanitas: that was soooo 16th century, and the modern age was all about innovation. If you understood the broader strokes of this unit (which I'm sure you don't, but that's not my fault), you would be able to place Symbolism within the context of its time: the late 19th and early 20th centuries, where artists are no longer necessarily bound by the wishes and whims of well-established patrons like kings and religious authorities and are finally able to draw and paint and sculpt what they please and in the manner they please. We also have the emergence of the avant-garde (that's French for 'vanguard,' the ships in a fleet that sail before the rest: the trailblazers, if you will), which sees artists creating works featuring subjects and art-making methods that had not been seen before in this part of the world, so it stands to reason that we would be straying away from tradition rather than helplessly clinging to it. Symbolism sometimes involves the utilization of symbols that were not always well understood by the audience: I can imagine that, rather than catering to the whims of simpletons who would throw a fit if the inclusion of a skull in a painting didn't mean death, some practitioners of Symbolism didn't really give a damn whether people 'understood' their work or not: it was meaningful and significant to them, and sometimes only them (I think that's pretty rad, even if it's, as you put it, 'stunningly inarticulate' for me to say so). I'll give you an example of my own personal Symbol now, to really drive the point home: from now on I will personally and unequivocally equate Mini Coopers with angry little bullies that have no means to channel their aggression but to post anonymous and strangely angry comments on teachers' CZcams videos. Because, seriously? Get a life! Go for a run, or get a non-destructive hobby! Also, while I've still got your attention: you do realize that the term "relativistic, say-nothing word salad" is...wait for it...relativistic, say-nothing word salad, right? Like, I was going to delete your comment, but now I'm just going to keep it so that I can come back and laugh at you some more later. Have a nice night!
Bro wrong symbolism
Lmao
bro got cooked