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Annotated Bibliography on Fine and Performing Arts

Page, Scott E. Diversity and Complexity. Princeton: Princeton University Press, 2011. Internet resource.
Scott approaches fine and performance arts from comparative perspective, which enables him to document on the 1400 CE art practices at a precise and authoritative manner. His first chapter is an insight of the diversity and complexity of the renaissance art prior to the medieval age. The author seeks to decipher abundant knowledge to the readers as he asserts the contributions of renowned artists such as Leonardo Da Vinci, Giorgione, and Bondonne. Further, Scott Page aligns his work to a clear platform when he evaluates the subject of measuring the intensity of diversity between fine and performance arts of the past. The author narrates on the process by which the early artists evolved their artworks, and the diversities born to such practices. On the third account, Page indicates on the existence of constraints within the art field and the variations shown by the systems used. Therefore, Page Scott succeeds to implement the course of fine and performance to the modern scholars.

Wilder, Jesse B. Art History for Dummies. Hoboken, N.J: Wiley, 2007. Internet resource.
The author approaches the subject of fine arts and with the view of criticizing the 15th century art. He indicates that artists of the 1400 CE lacked the relevant facility to create a more precise and authoritative form of art. For example, Jesse narrates on the use of oil on wood panel as a tedious course during the development of paintings. Further, Bryant resolves to argue out on the processes that the artists used as indications to the lack of skill since most of the artists took an unnecessary length of time to develop a painting. Subsequently, the actions undertaken by the artists and the development of writing on smaller scrolls as indicated in the book reveal the artists’ passion to develop alternative methods. It is realistic that Jesse Bryant succeeds in highlighting the detrimental factors that hindered the successful implementation of fine and performance arts during this ancient period. Essentially, the practical survey on the ancient indicates a diverse difference whenever the reader tries to contemplate on the ancient styles to the modern and contemporary approaches.

Guerzoni, Guido. Apollo & Vulcan: The Art Markets in Italy, 1400-1700. East Lansing: Michigan State University Press, 2011. Internet resource.
Mainly, the Apollo and Vulcan book is drawn from the Italian society and Amanda George translates it to the English version. According to the Guerzoni, the original author, fine and performance arts were common in the Elizabethan and Florentine societies. In the beginning of the 15th century, artists gained knowledge about alternative methods of designing and painting. He narrates that the artists developed the oil on canvas styles of painting hence; they were able to present a more authoritative painting. However, in order to add another conceptual level to the analysis, the author tracks how the arts were presented in frames. The author successfully captures the curious ambivalence between embracing the wonders of art while simultaneously condemning them. This approach seems incremental into passing knowledge to the readers, and preferably, art students on the concise approaches they should assert in their work in order to improve the preexisting models or rather innovate new ones.

North, Michael. Artistic and Cultural Exchanges between Europe and Asia, 1400-1900: Rethinking Markets, Workshops and Collections. Farnham, Surrey, Web: 19th March, 2014.
Michael North, a researcher on political history and art from England focuses on evaluation of the artistic presentation of fine and performance art pieces and the differences present in modern and contemporary compared to that of the past. The author argues out on the article of building trust as the most appropriate approach to defining the source of the differences in the diverse European and Eurasian art histories (p.316). Further, Michael intrigued into the policies prevailing in the artistic societies of interest and established various differential characteristics that the ill adaptation approaches emulated to the societies of concern. He argued out on the oil on panel and oil on canvas as the major derivatives that either organized or disorganized the unity of the art societies. He strives to research on the various resolutions and adaptive approaches that the society could adhere on in order to establish appropriate and long-lasting solutions.

Ione, Amy. Innovation and Visualization: Trajectories, Strategies, and Myths. Amsterdam Web: 19th March, 2014.
Amy stipulates that renaissance period evolved during the 13th and 14th centuries. As a culture, the art period led to the advancement of art and literature during the 14th-16th centuries. She documents on the most famous artists of the period citing Giotto Di Bondone as a figure who was recognized as the father of art and renaissance period as he implemented diversity in painting, and Ambrogio Lorenzetti who contributed to the renaissance period of art with allegory. Further, Amy indicates that Cimabue contributed by teaching art in Italy and contributed to the renaissance period while Giotto and his student Duccio Di Buoninsegna contributed to international gothic period that spread in the Northern European territories. Lastly, she succeeds by narrating that Simon Martini, through his gothic art painting exemplified his performance through the Sienese panting that influenced many cultures. During the renaissance period, most of the artists concentrated on developing artwork that would enable them to pass knowledge to the audience concerning subjects that had for a long period of time remained as myths to the society.

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