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Relevant bibliographies by topics / 20th century Australian painting

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Academic literature on the topic '20th century Australian painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "20th century Australian painting"

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Jones, Mark. "20th century composers." Psychiatric Bulletin 15, no. 7 (July 1991): 442–45. http://dx.doi.org/10.1192/pb.15.7.442.

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At the turn of the century, opera was leaderless after the heady days of Verdi and Wagner. Puccini emerged as the new voice of Italian opera, where realism, or verismo, was the way forward. But verismo could never be the answer to the operatic dilemma that faced the latest composers, since it only gave a musical dimension to a stage painting of ‘life as it is’, without reference to underlying psychodynamics — I personally have never thought Puccini much of an intellectual. Beautiful his music may be, but as thinking pieces of theatre they are devoid of real challenges. Their appeal and potency lies, to a great extent, in Puccini's obsession with needless suffering.

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Ковальова, М. М., and Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ." Art and Design, no. 3 (November 13, 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.

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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.

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Šeparović, Ana. "Icons and Croatian Painting in the Early 20th Century." IKON 9 (January 2016): 299–310. http://dx.doi.org/10.1484/j.ikon.4.00026.

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Koltsova, Tatiana Mikhailovna. "Icon-Painting Workshop of the Solovetsky Monastery. 17th - Early 20th Century." Secreta Artis, no. 3 (November 20, 2020): 50–75. http://dx.doi.org/10.51236/2618-7140-2020-3-3-50-75.

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Founded in 1429, the Solovetsky Monastery has throughout several centuries preserved and maintained the traditions of Russian icon painting in the North. In its iconpainting chamber (the building was constructed in 1615), new iconostases were created and icons from the churches of the monastery and patrimonial lands in Pomorie were repaired. In the 17th century, 45 icon painters worked on Solovki in different years, among them were monks, monastery servants, and “trudniks” (lay workers). In the 18th century, the artists of the Pomor patrimonial lands underwent their initial training at the monastery school of icon painting. Families of hereditary icon painters Chalkovs and Savins from Sumsky Posad are particularly well-known. The monastery sent the most gifted students to St. Petersburg and Moscow to improve their art. In 1880, the Solovetsky painting school was inaugurated, where many northern icon painters acquired basic painting skills. Copying and painting from life formed the basis of the educational process; students were offered paintings from the Academy of Arts as samples. The icons and paintings made in the workshop are distinguished by their characteristic stylistic, technical and technological features. The most prominent graduates of the school (A. A. Borisov, N. G. Bekryashev) contributed significantly to the history of Russian art. The article contains new archival documents and rare photographs.

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Kayapinar, Umut. "EXPRESSIVE INTERACTIONS IN THE 20TH CENTURY THE ART of PAINTING." Idil Journal of Art and Language 6, no. 32 (May 20, 2017): 1253–67. http://dx.doi.org/10.7816/idil-06-32-06.

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Song, Yicai. "The development of 20th century realistic oil painting in China." Vestnik of St Petersburg University. Series 15. Arts, no. 2 (June 2016): 36–43. http://dx.doi.org/10.21638/11701/spbu15.2016.203.

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Fan, Liu. "Lijiang river image in painting of Chinese 20TH century artists." Humanities science current issues 2, no. 39 (2021): 33–41. http://dx.doi.org/10.24919/2308-4863/39-2-6.

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Betz, Dorothy M. "Australian Divagations: Mallarme & the 20th Century (review)." Nineteenth Century French Studies 32, no. 3 (2004): 413–14. http://dx.doi.org/10.1353/ncf.2004.0004.

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Armitage, Marc. "Antipodean traditions: Australian Folklore in the 20th century." International Journal of Play 2, no. 2 (September 2013): 150–52. http://dx.doi.org/10.1080/21594937.2013.823812.

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Ryder, Nicole. "Acidity in canvas painting supports: Deacidification of two 20th century paintings." Conservator 10, no. 1 (January 1986): 31–36. http://dx.doi.org/10.1080/01410096.1986.9995015.

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Dissertations / Theses on the topic "20th century Australian painting"

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Hattam, Katherine, and katherine hattam@deakin edu au. "Art and Oedipus." Deakin University. School of Communication and Creative Arts, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070816.121927.

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Millward, William H., University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Beneath the surface : the role of intuition in the creative process." THESIS_FPFAD_XXX_Millward_W.xml, 1998. http://handle.uws.edu.au:8081/1959.7/308.

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One question raised when creating, evaluating and appraising art work is 'How do we know what we know?' This exegesis attempts to answer this by establishing the important role intuitive knowledge plays in decision making in general, and within the author's own art practice specifically. The study reviews some of the literature on intuition from philosophical and psychological perspective in order to validate intuitive knowledge and intuitive decision making within contemporary art practice. However, just because intuition may drive the process, it does not mean that the product of intuitive practice is necessarily good or has any value. Consequently, the importance of aesthetics, and the values of integrity, honesty and truth are explored from a philosophical perspective. These are discussed in relation to the art practice of other artists from this century as well as that of the writer. Having constructed a philosophical framework to work within and be guided by, the final part of this study documents the development of the practical work and how this framework influences the art practice and the outcomes of that practice. It is hoped that the results of the study will reassert the validity and relevance of this form of art practice and philosophy within contemporary art practice.
Master of Arts (Hons) (Visual Art)

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Setti, Godfrey. "An analysis of the contribution of four painters to the development of contemporary Zambian painting from 1950-1997." Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1002218.

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This study presents an analysis of the contribution of four painters to the development of contemporary Zambian painting, from 1950 to 1997. This is preceded by a brief history of Zambian painting, including Bushmen rock painting and early Bantu art, which is followed by an account of the way western influence, introduced by the white man, started changing the style of painting in the country as it began to affect indigenous artists. In the work of artists who began painting from about 1900 to 1950, both western and traditional stylistic influences can be seen. While the painters whose work is analysed in this thesis had some knowledge of Zambian art before 1950, they were mainly influenced by western ideas of painting. From a list of more than ten painters ofthis period from 1950 to 1997, I selected: Gabriel Ellison, Cynthia Zukas, Hemy Tayali and Stephen Kappata because I know them personally and therefore had access to them and their work, which facilitated my analysis of their work and its contribution to Zambian painting. This analysis takes the form of four chapters, one for each artist, in which relevant biographical and educational background is outlined, followed by an analysis of examples of\vork. Finally, ways in which each painter, through exposure to the Zambian public and artistic community, contributed to further development in Zambian painting, are emphasised.

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Gleeson, Damian John School of History UNSW. "The professionalisation of Australian catholic social welfare, 1920-1985." Awarded by:University of New South Wales. School of History, 2006. http://handle.unsw.edu.au/1959.4/26952.

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This thesis explores the neglected history of Australian Catholic social welfare, focusing on the period, 1920-85. Central to this study is a comparative analysis of diocesan welfare bureaux (Centacare), especially the Sydney, Melbourne and Adelaide agencies. Starting with the origins of professional welfare at local levels, this thesis shows the growth in Catholic welfare services across Australia. The significant transition from voluntary to professional Catholic welfare in Australia is a key theme. Lay trained women inspired the transformation in the church???s welfare services. Prepared predominantly by their American training, these women devoted their lives to fostering social work in the Church and within the broader community. The women demonstrated vision and tenacity in introducing new policies and practices across the disparate and unco-ordinated Australian Catholic welfare sector. Their determination challenged the status quo, especially the church???s preference for institutionalisation of children, though they packaged their reforms with compassion and pragmatism. Trained social workers offered specialised guidance though such efforts were often not appreciated before the 1960s. New approaches to welfare and the co-ordination of services attracted varying degrees of resistance and opposition from traditional Catholic charity providers: religious orders and the voluntary-based St Vincent de Paul Society (SVdP). For much of the period under review diocesan bureaux experienced close scrutiny from their ordinaries (bishops), regular financial difficulties, and competition from other church-based charities for status and funding. Following the lead of lay women, clerics such as Bishop Algy Thomas, Monsignor Frank McCosker and Fr Peter Phibbs (Sydney); Bishop Eric Perkins (Melbourne), Frs Terry Holland and Luke Roberts (Adelaide), consolidated Catholic social welfare. For four decades an unprecedented Sydney-Melbourne partnership between McCosker and Perkins had a major impact on Catholic social policy, through peak bodies such as the National Catholic Welfare Committee and its successor the Australian Catholic Social Welfare Commission. The intersection between church and state is examined in terms of welfare policies and state aid for service delivery. Peak bodies secured state aid for the church???s welfare agencies, which, given insufficient church funding proved crucial by the mid 1980s.

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Park, Sungsil. "East Asian and Western perception of nature in 20th century painting." Thesis, University of Brighton, 2009. https://research.brighton.ac.uk/en/studentTheses/e1cdcb78-5148-4de7-9d84-4c701af7ad29.

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The introduction aims to investigate both my painting and exhibition practice, and the historical and theoretical issues raised by them. It also examines different views on nature by comparing and contrasting 20th Century Western ideas with those of traditional Asian art and philosophies. There are two sections to this thesis; Section A contains an historical overview of Eastern and Western philosophy and art, Section B presents observations on my studio and exhibition practice. Section A is divided into two chapters. Chapter 1 examines concepts of nature in the East and West before the eariy 20th Century. It discusses examples of different approaches to nature and cross-cultural perceptions, especially Taoism and Buddhism, which emphasize harmony within nature and the principle of universal truth. It also gives pertinent and relevant examples of attitudes to nature in the Korean. Chinese and Japanese art of the 20th Century. Chapter 2 discusses new and changing attitudes to ecology, post 20th Century, and the environmental art movements of the East and West. Their ideas have a great deal in common with traditional Eastern views on nature and the mind, so have the potential t change both our identity and our relationship with nature. Section B draws together this material to establish the main argument of the thesis, concerning a connection between modem ecological approaches and traditional Zen Buddhist ideas which emphasize the interconnection of all natural forms. The section consists mainly of observations on studio practice divided into 3 chapters and a conclusion.

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Lee, Sai-chong Jack, and 李世莊. "Painting in western media in early twentieth century Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31214344.

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蕭芬琪 and Fun-kee Siu. "The case of Wang Yiting (1867-1938): a uniquefigure in early twentieth century Chinese art history." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223357.

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Law, Suk-mun Sophia, and 羅淑敏. "Zhang Daqian's (1899-1983) place in the history of Chinese painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245808.

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Siu, Fun-kee, and 蕭芬琪. "The conventional and the individual in Fu Baoshi's (1904-1965) painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245912.

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Deng, Weixiong, and 鄧偉雄. "Scholarship, creativity and Jao Tsung-i's works and theories of painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45961803.

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Books on the topic "20th century Australian painting"

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Art, Martin Browne Fine. Martin Browne Fine Art: 20th century Australian and New Zealand painting, November 1993. Paddington, NSW: Martin Browne Fine Art, 1993.

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Institute of Contemporary Arts (London, England), Third Eye Centre, and Orchard Gallery, eds. Imants Tillers: Works, 1978-1988. [London]: Institute of Contemporary Arts, 1988.

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Tillers, Imants. Imants Tillers: One world many visions. Edited by Hart Deborah 1959- and National Gallery of Australia. [Canberra]: National Gallery of Australia, 2006.

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1959-, Hart Deborah, and National Gallery of Australia, eds. Imants Tillers: One world many visions. [Canberra]: National Gallery of Australia, 2006.

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Nicholls, Christine. Kathleen Petyarre: Genius of place. Kent Town, S. Aust: Wakefield Press, 2001.

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James, Bardon, ed. Papunya: A place made after the story : the beginnings of the Western Desert painting movement. Carlton, Vic: Miegunyah Press, 2004.

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Grishin, Sasha. Franz Kempf: Thinking on paper, 1955-2002. Kent Town, S. Aust: Wakefield Press, 2002.

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Neue Galerie am Landesmuseum Joanneum, ed. Alois Mosbacher: Outside fiction. Graz: Neue Galerie Graz, 2010.

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Schofield, Anne. Australian jewellery: 19th and early 20th century. Woodbridge: Antique Collectors' Club, 1990.

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McCallum, John. Belonging: Australian playwriting in the 20th century. Sydney: Currency Press, 2009.

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Book chapters on the topic "20th century Australian painting"

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Toner, Kieron. "The cart before the horse? Australian exchange rate policy and economic reform in the 1980s." In Exchange Rates and Economic Policy in the 20th Century, 172–200. Routledge, 2017. http://dx.doi.org/10.4324/9781315255729-6.

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Voytekunas, Valentina. "Итальянская живопись ‘до Рафаэля’ в творчестве Николая Рериха." In Taking and Denying Challenging Canons in Arts and Philosophy. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/008.

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At the turn of the 20th century, interest in Italy and the artistic heritage of the Old Italian Masters, especially the Proto-Renaissance and Early Renaissance was a noticeable phenomenon in Russian culture. Painting ‘before Raphael’ became one of the most important sources that influenced the style and imagery of many Russian artists, including Nicholas Roerich. This article examines the factors that determined Roerich’s interest in early Italian art and analyzes the direct experience of the artist studying ancient painting in Italy, which was reflected in his artistic practice of the 1900s-1910s.

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Saunders, Peter. "The development, value and application of budget standards: reflecting on the Australian experience." In Minimum Income Standards and Reference Budgets, 139–54. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781447352952.003.0010.

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This chapter draws attention to Australia's very rich tradition of family budget research, which was associated with the Social Policy Research Centre. It explains that the idea of a basic living standard enshrined in wage laws became a reality in Australia at the start of the 20th century. It also charts the history of budget standards research in Australia, focusing on the four major studies that were coordinated during the 1990s, 2000s and 2010s. The chapter looks at the latest work that relates to the budget for healthy living and combines public health knowledge and focus group deliberations. It concludes that budget standards only provide a rough-and-ready adequacy benchmark, which should be used with care and in conjunction with other measurement approaches to living standards whenever possible.

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Croddy, W. Stephen. "Explaining Modernism." In The Paideia Archive: Twentieth World Congress of Philosophy, 27–34. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia199814.

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Modernism in the arts commenced during the second half of the 19th century and extended into most of the 20th. A significant feature of this period is that each type of art gave principal attention to dimensions of itself. This was a type of self-analysis. I consider those art forms consisting of an image on a flat two-dimensional surface. I give particular attention to painting, a familiar example of this type of image. Explanations of Modernism are philosophically relevant not only for aesthetics but also for epistemology. The reason is that an analysis of our perceptions as a result of seeing a painted image can contribute to philosophy's analysis of the process by which we obtain knowledge through perception. I argue that we should interpret Modernism as contributing to this investigation.

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Kuo, Mei-fen. "The “Invisible Work” of Women." In Chinese Diaspora Charity and the Cantonese Pacific, 1850-1949, 154–72. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528264.003.0009.

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This chapter explores how Chinese cultural expressions of charity, based on interpersonal relationships (guanxi) and native place (tongxiang) ties, came to mix and interact with contrasting traditions of Christian charity practiced in a predominantly British milieu in colonial and federation Australia over the late 19th century and 20th centuries. We employ the term “philanthropic sociability” to capture the spirit of innovation that came to characterize a number of voluntary organizations in which Chinese Australian women were active organizers and innovators. By analyzing male-dominated writings and records of charitable fairs and public celebrations, the chapter argues that women undertook “invisible work” in voluntary organizations and built a variety of informal networks among them. Although their social impact was limited, women contextualized their participation in male-dominated activities in ways that cannot be explained in terms of patriarchal values. We find that the impact of women in Chinese- Australian voluntary organizations was not just about the feminizing of community formations but also about promoting philanthropic sociability in ways that traditional organizations could not match.

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Gigante, Lorenzo. "Incontri, scontri, confronti Appunti sulla ricezione della xilografia nordica in Italia tra XV e XX secolo." In Taking and Denying Challenging Canons in Arts and Philosophy. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/007.

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Germany, France, Italy: the attribution of the first woodcut images has long been debated between several countries, to gain the technological primacy of the invention of reproductive printmaking, before Gutenberg’s movable type printing. Today we know how difficult it is, if not impossible, to establish a place and a date of origin of image printing in Europe. Impossible and probably unimportant. Printing was a European phenomenon in the 15th century, and we may ask ourselves whether a northern woodcut beyond the Italian borders was intended as something different than an Italian one. The contrast between northern and southern prints, which has been claimed by art historians from Vasari until the half of the 20th century, seems to be denied by early modern Italian sources. For example, a German woodcut from the first decades of the 15th century and a Florentine painting from the end of the 14th century can coexist as models for the illumination of the same manuscript. This unpublished case study of two Florentine 15th-century illuminations shows how a European cultural horizon was more common than we think today, and how much woodcut has been a fundamental tool for this broadening of horizons, since its very beginning.

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Kalinina, Kamila. "The examination of materials and technique of painting ceramics of the Trypillia culture painted pottery from the excavation of Nemirovo. Collections of the State Hermitage Museum." In Nemirov Hill Fort on South Bug River. According the excavation materials of the 20th century from collections of the State Hermitage Museum and documents kept in IHMC RAS, 238–49. Institute for the History of Material Culture RAS, 2018. http://dx.doi.org/10.31600/978-5-9909872-2-7-238-249.

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Conference papers on the topic "20th century Australian painting"

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Fukunaga, Kaori, Yoshimi Ueno, and Yasunobu Ito. "Investigation of Multilayered 20th Century Painting by THz Imaging." In 2019 44th International Conference on Infrared, Millimeter, and Terahertz Waves (IRMMW-THz). IEEE, 2019. http://dx.doi.org/10.1109/irmmw-thz.2019.8873825.

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Jiang, Hanying, and Xianfei Liang. "The Probe into the Psychological Analysis Painting at the End of 20th Century." In 2017 International Conference on Humanities Science, Management and Education Technology (HSMET 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/hsmet-17.2017.140.

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Khmyrova-Pruel, Irina, Aleksey Smirnov, and Olga Bezzubova. "Modes of Leadership in Soviet School: Exploring the Soviet Painting of the Mid-20th Century." In 6th International Conference on Social, economic, and academic leadership (ICSEAL-6-2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200526.005.

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Morozova, Anna Valentinovna. "THE DEVELOPMENT OF RUSSIAN PERCEPTION OF SPANISH PAINTING IN THE PERIOD FROM THE MIDDLE OF THE 19TH CENTURY TO THE BEGINNING OF THE 20TH CENTURY." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s12.004.

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Bykova, A. M. "Between painting and literature: 3 types of ekphrasis in Polish poetry of the 20th century (analysis of selected examples)." In CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-78.

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Shirshova, Lyubov. "Creative Life of Ye. I. Zverkov: Evolution of Landscape Painting in Russia in the Second Half of the 20th Century." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.19.

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Moulis, Antony. "Architecture in Translation: Le Corbusier’s influence in Australia." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.752.

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Abstract: While there is an abundance of commentary and criticism on Le Corbusier’s effect upon architecture and planning globally – in Europe, Northern Africa, the Americas and the Indian sub-continent – there is very little dealing with other contexts such as Australia. The paper will offer a first appraisal of Le Corbusier’s relationship with Australia, providing example of the significant international reach of his ideas to places he was never to set foot. It draws attention to Le Corbusier's contacts with architects who practiced in Australia and little known instances of his connections - his drawing of the City of Adelaide plan (1950) and his commission for art at Jorn Utzon's Sydney Opera House (1958). The paper also considers the ways that Le Corbusier’s work underwent translation into Australian architecture and urbanism in the mid to late 20th century through the influence his work exerted on others, identifying further possibilities for research on the topic. Keywords: Le Corbusier; post-war architecture; international modernism; Australian architecture, 20th century architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.752

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Valero, Alicia, Antonio Valero, and Inmaculada Arauzo. "Exergy as an Indicator for Resources Scarcity: The Exergy Loss of Australian Mineral Capital — A Case Study." In ASME 2006 International Mechanical Engineering Congress and Exposition. ASMEDC, 2006. http://dx.doi.org/10.1115/imece2006-13654.

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Over the span of the 20th century, the global demand for metals and minerals has increased dramatically. This is associated with a general trend of declining ore grades from most commodities, meaning higher quantities of ore needed to be processed and thus more energy. Hence, quantifying the loss of mineral capital in terms of mass is not enough since it does not take into account the quality of the minerals in the mine. Exergy is a better indicator than mass because it measures at the same time the three features that describe any natural resource: quantity, composition and a particular concentration. For the sake of better understanding the exergy results, they are expressed in tons of Metal equivalent, tMe, which are analogously defined to tons of oil equivalent, toe. The aim of this paper is 1) to show the methodology for obtaining the exergy loss of mineral resources throughout a certain period of time and 2) to apply it to the Australian case. From the available data of production and ore grade trends of Australian mining history, the tons of Metal equivalent lost, the cumulative exergy consumption, the exergy decrease of the economic demonstrated reserves and the estimated years until depletion of the main base-precious metals are provided, namely: for gold, copper nickel, silver lead and zinc.

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Aristizábal, José Antonio. "HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6880.

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Abstract:

Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han dejado de ser lecturas impresionistas que no han reflexionado en profundidad sobre su obra. Este artículo trata de ver a Rivas a partir de unas categorías estéticas. Para ello se remite a las reflexiones de Rafael Argullol para distinguir aquello propio del artista romántico, y a las aportaciones filosóficas de Eugenio Trías acerca de lo siniestro en la obra de arte, y las vincula a la obra de Humberto Rivas. La hipótesis inicial es de que Rivas no se sentía como un fotógrafo que atrapa momentos o documenta acontecimientos, sino como un creador, y su obra es resultado de un artista que se repliega sobre sí mismo con la intención de producir una imagen reflejo de su mundo interior, la cual se puede explicar desde la mente del artista romántico, aunque el contexto no sea el romanticismo. Por último, aunque el artículo hable sobre Humberto Rivas, también es una manera de construir un relato entre la imagen fotográfica y distintos valores estéticos que hacen parte la historia del arte. Abstract:The following article seeks to give a reading to the work of photographer Humberto Rivas, National Photography Prize and one of the greatest exponents of Spanish photography at the end of the 20th century. It is based on the conviction that it is necessary to locate Humberto Rivas in a translation of aesthetic thought, since the different readings that exist on his work, although important, have not ceased to be Impressionist readings that have not reflected in depth on his work . This article tries to see Rivas from some aesthetic categories. For this he refers to the reflections of Rafael Argullol to distinguish that of the romantic artist and the philosophical contributions of Eugenio Trías about the sinister in the work of art, and links them to the work of Humberto Rivas. The initial hypothesis is that Rivas did not feel like a photographer who catches moments or documents events, but as a creator, and his work is the result of an artist who recoils on himself with the intention of producing a reflex image of Its inner world, which can be explained, from the mind of the romantic artist although the context is not romanticism. Finally, although the article talks about Humberto Rivas, it is also a way to build a narrative between the photographic image and the values that have served to interpret painting or sculpture in the history of art.

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