The arts is a vast subdivision of culture, composed of many creative endeavors and disciplines. It is a broader term than "art", which, as a description of a field, usually means only the visual arts. The arts encompass the visual arts, the literary arts and the performing arts – music, theatre, dance and film, among others. This list is by no means comprehensive, but only meant to introduce the concept of the arts. For all intents and purposes, the history of the arts begins with the history of art. The arts might have origins in early human evolutionary prehistory.
Ancient Greek art saw the veneration of the animal form and the development of equivalent skills to show musculature, poise, beauty and anatomically correct proportions. Ancient Roman art depicted gods as idealized humans, shown with characteristic distinguishing features (e.g. Jupiter's thunderbolt). In Byzantine and Gothic art of the Middle Ages, the dominance of the church insisted on the expression of biblical and not material truths. Eastern art has generally worked in a style akin to Western medieval art, namely a concentration on surface patterning and local colour (meaning the plain colour of an object, such as basic red for a red robe, rather than the modulations of that colour brought about by light, shade and reflection). A characteristic of this style is that the local colour is often defined by an outline (a contemporary equivalent is the cartoon). This is evident in, for example, the art of India, Tibet and Japan. Religious Islamic art forbids iconography, and expresses religious ideas through geometry instead. The physical and rational certainties depicted by the 19th-century Enlightenment were shattered not only by new discoveries of relativity by Einstein and of unseen psychology by Freud, but also by unprecedented technological development. Paradoxically the expressions of new technologies were greatly influenced by the ancient tribal arts of Africa and Oceania, through the works of Paul Gauguin and the Post-Impressionists, Pablo Picasso and the Cubists, as well as the Futurists and others.
Ancient Egyptian literature was written in the Egyptian language from Ancient Egypt's pharaonic period until the end of Roman domination. Along with Sumerian literature, it is considered the world's earliest literature. Writing in Ancient Egypt first appeared in the late 4th millennium BC. By the Old Kingdom, literary works included funerary texts, epistles and letters, religious hymns and poems, and commemorative autobiographical texts. It was not until the early Middle Kingdom that a narrative Egyptian literature was created. Middle Egyptian, the spoken language of the Middle Kingdom, became a classical language during the New Kingdom, when the vernacular language known as Late Egyptian first appeared in writing. Scribes of the New Kingdom canonized and copied many literary texts written in Middle Egyptian, which remained the language used for oral readings of sacred hieroglyphic texts. Ancient Egyptian literature has been preserved on a wide variety of media, including papyrus scrolls and packets, limestone or ceramic ostraca, wooden writing boards, monumental stone edifices and coffins. Hidden caches of literature, buried for thousands of years, have been discovered in settlements on the dry desert margins of Egyptian civilization.
A photographer's assistant uses a portable folding reflector to "bounce" available sunlight onto the model. Also known as a bounce board, this type of reflector is useful when the available light is insufficient for what the scene requires, and using a flash would make the lighting too harsh. Here, because of the mostly overcast day, the sun is positioned in the wrong location to illuminate both the model and desired background properly, so a reflector is used to accomplish the task.
- 9 June 1904 – The London Symphony Orchestra, conducted by Hans Richter, plays its first concert
- 18 June 1964 – Italian painter Giorgio Morandi, whose still lifes and landscapes were noted for their tonal subtlety, dies in Bologna at the age of 73
- 20 June 1703 – The Love Suicides at Sonezaki by Chikamatsu Monzaemon, often considered the greatest Japanese dramatist, receives its first performance
- 24 June 1924 – Efua Sutherland, a foundational figure in modern Ghanaian drama, is born in the Cape Coast region of Ghana
- 29 June 1861 – Elizabeth Barrett Browning (pictured), one of the most prominent poets of the Victorian era, dies in Florence at the age of 55
John Douglas (1830–1911) was an English architect who designed about 500 buildings in Cheshire, North Wales and northwest England, in particular in the estate of Eaton Hall. Douglas' output included the creation, restoration and renovation of churches, church furnishings, houses and other buildings. His architectural styles were eclectic and many of his works incorporate elements of the English Gothic style. He was also influenced by architectural styles from the mainland of Europe and included elements of French, German and Netherlandish architecture into his works. He is remembered for his use of half-timbering, tile-hanging, pargeting, decorative brick in diapering and the design of tall chimney stacks. Of particular importance is Douglas' use of joinery and highly detailed wood carving. Throughout his career he attracted commissions from wealthy landowners and industrialists. Most of his works have survived. The city of Chester contains a number of his structures, the most admired of which are his half-timbered black-and-white buildings and Eastgate Clock. The highest concentration of his work is found in the Eaton Hall estate and the surrounding villages of Eccleston, Aldford and Pulford.
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Observe the accommodation of the most common artificer or daylabourer in a civilized and thriving country, and you will perceive that the number of people, of whose industry a part, though but a small part, has been employed in procuring him this accommodation, exceeds all computation. The woollen coat, for example, which covers the day-labourer, as coarse and rough as it may appear, is the produce of the joint labour of a great multitude of workmen. The shepherd, the sorter of the wool, the wool-comber or carder, the dyer, the scribbler, the spinner, the weaver, the fuller, the dresser, with many others, must all join their different arts in order to complete even this homely production. How many merchants and carriers, besides, must have been employed in transporting the materials from some of those workmen to others who often live in a very distant part of the country? How much commerce and navigation in particular, how many ship-builders, sailors, sail-makers, rope-makers, must have been employed in order to bring together the different drugs made use of by the dyer, which often come from the remotest corners of the world? What a variety of labour, too, is necessary in order to produce the tools of the meanest of those workmen! To say nothing of such complicated machines as the ship of the sailor, the mill of the fuller, or even the loom of the weaver, let us consider only what a variety of labour is requisite in order to form that very simple machine, the shears with which the shepherd clips the wool. The miner, the builder of the furnace for smelting the ore the feller of the timber, the burner of the charcoal to be made use of in the smelting-house, the brickmaker, the bricklayer, the workmen who attend the furnace, the millwright, the forger, the smith, must all of them join their different arts in order to produce them. |
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