Introduction

How can we bring awareness to historical art practices and their cultural significance to foster a more informed and creative artistic community? Over the course of the semester, this workshop has tackled this question through engaging lectures and hands-on activities. The exhibition features a variety of art forms including cave painting, mosaics, frescoes, folk art, porcelain painting, raffia weaving, and mask-making.  

History & Distinction

This exhibition was influenced by the rich artistic cultures that exist around the world. Beginning with the earliest examples of human artistic expression—cave paintings (PBS)—we explored how natural pigments were used (Plenderleith) to communicate through symbols and images. In Italy during both ancient times and the Renaissance, fresco paintings were used to decorate buildings with the ideals of the time. The philosophical debates of the Renaissance were illustrated by masters like Raphael (Ioele et al.) in “The School of Athens”. Early Christian churches in the Byzantine Empire were adorned with dazzling gold mosaics to reflect sunlight and create a heavenly space (Swift). Blue and white Chinese Porcelain featured intricate designs and played a major role in global trade (Le Corbeiller et al.). In Latin America, folk art designs have been a form of storytelling across generations (Congdon). Melanesian masks were used in various rituals and celebrations which were sacred to the culture of the islands. The art of weaving dried raffia to create practical objects such as bowls was practiced in Central Africa by skilled artisans. Each piece in this exhibit was informed by one of these historical art forms. After learning the cultural significance behind the artwork, students were able to try the techniques and styles for themselves, eventually choosing one for their final projects.  

Methods

Research for this workshop was conducted through scholarly online sources which we combined with content we had learned in previous art history classes. By blending historical research with hands-on experience, the workshop aimed to not only educate participants about various art techniques but also to instill a deeper appreciation for the richness of global art history. Each class began with a 15-minute lecture based on our research, followed by time for the students to try the artistic techniques for themselves. To engage the students, we included videos, images, and interactive games in our lectures.  

Audience & Impact

The audience of Raiders of the Lost Art was American college students with limited art history knowledge who desire to learn more about historical art techniques. This audience was chosen because we are also passionate about these topics and would love to teach people with similar interests. We hope our students have gained an understanding and new appreciation of the relationship between these art techniques and the cultures and societies they originate from. This experience has taught us to be adaptable and creative as both teachers and artists.

References

Congdon, Kristin G. “Finding the Tradition in Folk Art: An Art Educator’s Perspective.” Journal of Aesthetic Education, vol. 20, no. 3, 1986, pp. 93–106. JSTOR, https://doi.org/10.2307/3332437. Accessed 7 Oct. 2024. 

Ioele, M., Sodo, A., Casanova Municchia, A. et al. “Chemical and spectroscopic investigation of the Raphael’s cartoon of the School of Athens from the Pinacoteca Ambrosiana.” Appl. Phys. A 122, 1045 (2016). https://doi.org/10.1007/s00339-016-0580-z. Accessed 7 Oct. 2024. 

Le Corbeiller, Clare, and Alice Cooney Frelinghuysen. “Chinese Export Porcelain.” The Metropolitan Museum of Art Bulletin, vol. 60, no. 3, 2003, pp. 1–60. JSTOR, https://doi.org/10.2307/3269266. Accessed 7 Oct. 2024. 

PBS. "Cave Art." Evolution: Library. WGBH Educational Foundation, [Oct. 2024]. https://www.pbs.org/wgbh/evolution/library/07/2/l_072_02.html 

PLENDERLEITH, H. J. “THE HISTORY OF ARTISTS’ PIGMENTS.” Science Progress (1933- ), vol. 38, no. 150, 1950, pp. 246–56. JSTOR, http://www.jstor.org/stable/43422835. Accessed 7 Oct. 2024. 

Swift, Emerson H. “Byzantine Gold Mosaic.” American Journal of Archaeology, vol. 38, no. 1, 1934, pp. 81–82. JSTOR, https://doi.org/10.2307/498933. Accessed 7 Oct. 2024.  

Acknowledgements

We would like to thank Harold and Heather for their guidance as we prepared this workshop and exhibition. From fixing technical difficulties to ordering materials, they were always there to assist us. We also extend our gratitude to our wonderful TA, Chioma, who helped set up supplies and give reminders each week. Finally, we thank our talented students for coming to class each week eager to learn about and create art.