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Journal articles on the topic 'Naturalism in art Australia'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Fensham, Roderick. "Rumphius and." Historical Records of Australian Science 33, no. 1 (January 21, 2022): 23–27. http://dx.doi.org/10.1071/hr21009.

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In 1743, Georg Rumphius described a tree from the island of Seram in Herbarium Amboinense as Arbor Versicolor (now known as Eucalyptus deglupta Blume). Thus, the first European name for a species in the iconic Australian genus of Eucalyptus was coined decades before the British collected specimens in Australia, and before it was given its current name by a French botanist in 1789. The English translation of Rumphius’ description (see Supplementary Material) also includes vernacular names for Eucalyptus deglupta—some of many names applied to this species as it occurs from New Britain to Mindanao in the Philippines. While neither Rumphius’ name nor vernacular names for E. deglupta are recognised in current Western botanical nomenclature, the naming of Eucalyptus and other genera now recognised as Acacia, Casuarina and Melaleuca confirm the role of the eminent naturalist Rumphius in the history of Australian botany.

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2

Abadía, Oscar Moro, Manuel R. González Morales, and Eduardo Palacio Pérez. "‘Naturalism’ and the interpretation of cave art." World Art 2, no. 2 (September 2012): 219–40. http://dx.doi.org/10.1080/21500894.2012.689258.

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3

Killin, Anton. "Defending scientific naturalism in philosophy of art." Metascience 29, no. 2 (May 25, 2020): 289–92. http://dx.doi.org/10.1007/s11016-020-00528-w.

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4

Elias, Ann. "Campaigners for Camouflage: Abbott H. Thayer and William J. Dakin." Leonardo 42, no. 1 (February 2009): 36–41. http://dx.doi.org/10.1162/leon.2009.42.1.36.

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The author makes a comparative study of American naturalist Abbott H. Thayer and Australian zoologist William J. Dakin, two civilian campaigners for military camouflage in two different wars who nevertheless share strikingly similar stories.

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5

Gawronski, Alexander. "Art as Critique under Neoliberalism: Negativity Undoing Economic Naturalism." Arts 10, no. 1 (February 4, 2021): 11. http://dx.doi.org/10.3390/arts10010011.

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This essay considers the possibilities of contemporary art as a viable medium of socio-political critique within a cultural terrain dominated by naturalised neoliberal economics. It begins by considering the centrality of negativity to the historical project of critical theory most forcefully pursued by Adorno as ‘negative dialectics.’ Subsequent varieties of postmodern critique fairly dispensed with dialectics variously favouring complexity and an overriding emphasis on textuality. With the birth of neoliberalism and its burgeoning emphasis on ‘the contemporary’, economic values begin to penetrate every aspect of contemporary life and experience, including art and culture. Contemporary capitalism dematerialised as financialisation now comprises a naturalised ambience that is both everywhere and nowhere. Capitalist ambience is echoed in contemporary art that suggests criticality and yet seems to side with the imagery, values and logics of the prevailing financial order. The naturalisation of the neoliberal order is further internalised by artists online. Exacerbated contemporary emphasis on the ‘self as entrepreneur’ coincides with the biopolitical transformation of the contemporary artist into an individual ‘enterprise unit’. This is particularly observable online on social media where an artist’s whole life is simultaneously the subject and object of art. Criticality in art does not disappear but becomes ‘self-annulling’: it acts as a conduit questioning the commodity-identity of art while pointing to phenomena and affects outside the art world. With the recent appearance of the COVID-19 virus, added to the unignorable impact of global climate change, ‘real nature’ assumes a critical role, undermining neoliberalism’s ideological naturalisation while laying-bare the extent of its structural contradictions. Art criticality is revivified by divesting from art contexts saturated with neoliberal imperatives. Criticality is negatively practiced as an ‘un-’ or ‘not-doing’, defining modes of exodus while, crucially, not abandoning art’s institutional definition altogether.

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6

Barbosa Ribeiro, Marta, and Joana Brites. "Rethinking the stylistic categories of Portuguese 19th century sculpture: the work of António Teixeira Lopes." Ars Longa. Cuadernos de arte, no. 26 (February 1, 2018): 157. http://dx.doi.org/10.7203/arslonga.26.10961.

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This paper aims to rethink 19th century Portuguese sculpture’s stylistic categories from the analysis of the work of António Teixeira Lopes, who is considered the major representative of naturalism in this country. First, the concept of naturalism in Portuguese art history is examined, with a critical characterization of its separation from romanticism (contrasting with mainstream literature) and demonstrating that its emergence from painting research and its adoption in sculpture is inoperative when observing a concrete art work. Secondly, with the Portuguese art reality as a backdrop, Teixeira Lopes’ academic and professional life is contextualised. Finally, based on the analysis of the sculptor’s work and the knowledge of his methods and views on art, the labelling of Lopes as a naturalist is questioned and the necessity for a less compartmentalized understanding of 19th century art is stressed.

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7

Consoli, Gianluca. "Aesthetic Value and Aesthetic Judgment." Aesthetic Investigations 4, no. 1 (December 31, 2020): 112–21. http://dx.doi.org/10.58519/aesthinv.v4i1.11928.

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Contemporary aesthetic naturalism integrates various scientific approaches into the common effort to provide an explanation of the main topics of aesthetics on the basis of empirical methods or in line with available evidence. Although these approaches have recently achieved very relevant empirical and theoretical results, contemporary aesthetic naturalism still does not solve the traditional hard problem of naturalism as such, that is the explanation of value in scientific terms. Firstly, I analyse the possible responses to this hard problem, showing that aesthetic value, particularly in the version of artistic value, remains outside the scope of current empirical approaches to aesthetics. Then I propose that this apparently strong philosophical limitation can be easily reduced to an ordinary epistemological limitation if aesthetic naturalism accepts to improve the interaction with art criticism, the discipline in the humanities characterised by a privileged access to the historical and social reasons that justify aesthetic judgments.

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8

Parrott, June. "Art Education in Australia." Journal of Aesthetic Education 21, no. 3 (1987): 114. http://dx.doi.org/10.2307/3332877.

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9

Hornshaw, B. L. "Primitive Art in Australia." Mankind 1, no. 1 (February 10, 2009): 21–22. http://dx.doi.org/10.1111/j.1835-9310.1931.tb00841.x.

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10

Karbalaeetaher, Hossein Shahin. "Cinema And Society In The Light Of Emile Zola’s Naturalism." CINEJ Cinema Journal 8, no. 1 (March 11, 2020): 141–55. http://dx.doi.org/10.5195/cinej.2020.244.

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This study will seek to discuss the essential impact of Emile Zola’s naturalism regarding the role of cinema in projecting social issues. To be clear on how cinema has got involved with social issues and has become an effective art form for distributing social messages and encouraging social changes, this study first will give a detailed historical background on the relationship between cinema itself and society. Then, it will elaborate on Emile Zola's naturalistic literature role as the first serious endeavors to raise social awareness through art and literature in the late nineteenth century. Finally, this study will focus on the first cinematic movement with an emphasis on the depiction of the working class' real life and revealing inequalities and injustices in a society based on Zola’s naturalism.

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11

Mei, Ding. "From Xinjiang to Australia." Inner Asia 17, no. 2 (December 9, 2015): 243–72. http://dx.doi.org/10.1163/22105018-12340044.

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Russians have lived in Xinjiang since the nineteenth century and those who accepted Chinese citizenship were recognised as one of China’s ethnic minorities known asguihua zu(naturalised and assimilated people). In theminzuidentification programme (1950s–1980s), the nameeluosi zureplacedguihua zuand became Russians’ official identification in China. Russians (including both Soviet and Chinese citizens) used to constitute a significant population in Manchuria, Inner Mongolia, Xinjiang and several other regions in China before the 1960s. According to the 2000 census,eluosi zuhad a population of only 15,609 and more than half of these lived in Xinjiang. Based on anthropological fieldwork in China and Australia, this article investigates the formation of theeluosi zuand the changing concept of ‘the Russian’ in Xinjiang, with the emphasis on the socialist period after 1949. The emigration to Australia from the 1960s to 1980s initially strengthened the European identity of this Russian minority. With the abolition of the ‘white Australia’ policy in 1973 and China’s growing importance to Australia, this Russian minority group’s identification with Xinjiang and China has been revived. Studying Russians from Xinjiang also provides an insight into the Uyghur diaspora in Australia, since their emigration history and shared regional identity are intertwined.

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12

Smith, Murray. "Film, Art, and the Third Culture." Projections 12, no. 2 (December 1, 2018): 111–36. http://dx.doi.org/10.3167/proj.2018.120214.

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In this article, I reply to the eleven commentaries on Film, Art, and the Third Culture gathered here, organizing my responses thematically and seeking to find points of similarity and difference among the commentators as well as with my own perspective. I address arguments on embodied simulation; the analogy between films and dreams; aesthetic experience and the “expansion” of ordinary experience; the relationships between culture and cognition and between fiction and emotion; theories of the extended mind and of niche construction; the place of neuroscience in aesthetics; and the relationship between naturalism and normativity. I conclude with some reflections on naturalistic methodology.

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Bradshaw, S. D. "Albert Russell ('Bert') Main 1919 - 2009." Historical Records of Australian Science 22, no. 1 (2011): 104. http://dx.doi.org/10.1071/hr10013.

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Bert Main (1919?2009)was recognized both nationally and internationally as one of Australia's leading zoologists and a gifted naturalist. His research and ecological teaching on a wide variety of animals, including frogs, reptiles, birds, insects and marsupials, laid the foundations for three generations of graduate students who were inspired by his imagination and biological insight. His foresight and energy as an administrator on government bodies also led to the creation of some of Western Australia's most important National Parks and Nature Reserves that are vital for the preservation of Australia's rich biodiversity and form part of his enduring legacy.

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Golod, Roman. "Ukrainian Literary Naturalism in the Ideological and Aesthetic Reception of Lesia Ukrainka." Journal of Vasyl Stefanyk Precarpathian National University 8, no. 2 (June 2, 2022): 56–64. http://dx.doi.org/10.15330/jpnu.8.2.56-64.

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The article deals with the study of the problem of Lesia Ukrainka's reception of the literary phenomenon of naturalism and the philosophy of positivism as its ideological basis. It also studies the way the poetess evaluated and looked at the achievements of European and Ukrainian writers representing this literary movement in the context of world and Ukrainian literary and cultural processes. The research also singles out the significance, national and individual-author features of the naturalism professed by I. Franko, A. Krymsky, E. Zola, Goncourt brothers, and F.Norris. The article focuses on the ideological and aesthetic importance of the postulates of naturalistic art for the development of the Ukrainian literary process. It also analyses different stages of the ideological and aesthetic reception of the naturalism doctrine in the perception of different generations of Ukrainian literary critics; it deals with Lesya Ukrainka's attitude to the naturalistic concept of a man and her reasoning about the compatibility of naturalism with certain genres and movements of literature. The article drives to the conclusion that Lesia Ukrainka recognizes the very fact of the existence of Ukrainian naturalism. It provides Lesia's vision on the usage of naturalistic elements in generally unnaturalist works and their combination with other elememts, sometimes representative of opposite to naturalism in their ideological and aesthetic postulates, such as romanticism, decadence, neo-romanticism, realism, etc. The article also provides an insight of Lesia Ukrainka's attitude to the problems of zoomorphic imagery, social involvement, physiological scientism in the literature of naturalism. It draws attention to the problem of the evolution of aesthetic consciousness of E. Zola, I. Franko, A. Krymsky, and Lesia Ukrainka herself. There is also place for the comparative analysis of the perception of naturalism in the literary-critical reception of different generations of Ukrainian and foreign writers.

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15

Jeong, Eunyeong. "A Study on the Nail Art Design Converging the Aesthetic Characteristics of Neo-Naturalism." Korean Society of Culture and Convergence 44, no. 12 (December 31, 2022): 1073–83. http://dx.doi.org/10.33645/cnc.2022.12.44.12.1073.

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The purpose of this study is to present a neo-naturalistic nail art design that combines the aesthetic characteristics of digital with nail art techniques using natural images as a motif. Through a review of the preceding paper, neonaturalism was defined as a nail art design that combines digital characteristics with natural images of flowers, oceans, and universes. First, natural images of flowers, the sea, and the universe were reproduced with nail art designs (3 works). The neo-naturalist nail art design has produced 3 works that maximize the splendor of flowers, richness and beautiful images, the separation of sea and sand, and the non-static image of bubbles, and the various glitters and dreams of the universe. This study proposed a neo-naturalistic nail art design in which digital elements are fused to the natural image motif extracted from the nail art design that reproduces the appearance of nature. Through this, it is believed that the possibility of nail art design was discovered as a means of expressing the value of nature preservation, and the scope of use of nail art design was expanded.

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16

Gamble, Clive. "Brilliant — rock art and art rock in Australia." Nature 351, no. 6328 (June 1991): 608. http://dx.doi.org/10.1038/351608a0.

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17

Locker, Jesse. "Caravaggio's Artichokes." Gastronomica 19, no. 4 (2019): 20–27. http://dx.doi.org/10.1525/gfc.2019.19.4.20.

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In April 1604, the Italian painter Caravaggio, believing that he had been slighted, threw a platter of artichokes at the head of waiter in a Roman tavern. This essay examines this curious episode through the lens art history, food history, and of social mores in seventeenth-century Rome, considering the history of the artichoke, Caravaggio's polemical naturalism, and contemporary attitudes to his art and behavior.

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18

Bednarik, Robert G. "Pleistocene Rock Art in Australia." Anthropos 105, no. 1 (2010): 3–12. http://dx.doi.org/10.5771/0257-9774-2010-1-3.

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19

Mundine, John. "Aboriginal art in Australia today." Third Text 3, no. 6 (March 1989): 33–42. http://dx.doi.org/10.1080/09528828908576212.

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20

Taçon, Paul S. C., Li Gang, Yang Decong, Sally K. May, Liu Hong, Maxime Aubert, Ji Xueping, Darren Curnoe, and Andy I. R. Herries. "Naturalism, Nature and Questions of Style in Jinsha River Rock Art, Northwest Yunnan, China." Cambridge Archaeological Journal 20, no. 1 (January 27, 2010): 67–86. http://dx.doi.org/10.1017/s0959774310000053.

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The naturalistic rock art of Yunnan Province is poorly known outside of China despite two decades of investigation by local researchers. The authors report on the first major international study of this art, its place in antiquity and its resemblance to some of the rock art of Europe, southern Africa and elsewhere. While not arguing a direct connection between China, Europe and other widely separated places, this article suggests that rock-art studies about the nature of style, culture contact and the transmission of iconography across space and time need to take better account of the results of neuroscience research, similar economic/ecological circumstances and the probability of independent invention.

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21

Kidman, Barbara P. "Ralph Tate (1840–1901), Naturalist par excellence: Life and Work before Emigration to Australia." Historical Records of Australian Science 24, no. 2 (2013): 207. http://dx.doi.org/10.1071/hr13003.

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Ralph Tate (1840–1901), the foundation Professor of Natural Science at the University of Adelaide, proved to be a remarkable scientist and naturalist with outstanding achievements in several fields. Tate was selected for the Chair in Adelaide, despite having no previous university experience, mainly on the recommendation of T. H. Huxley. This paper examines Tate's background in some detail and establishes that, in fact, as a respected geologist and palaeontologist with interests in conchology and botany, he was particularly well qualified to fill the post. He had had years of teaching practice, a long list of research publications and even experience in exploring new territories.

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Godfree, R. C., P. W. G. Chu, and M. J. Woods. "White clover (Trifolium repens) and associated viruses in the subalpine region of south-eastern Australia: implications for GMO risk assessment." Australian Journal of Botany 52, no. 3 (2004): 321. http://dx.doi.org/10.1071/bt03096.

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Over the past several years, increased emphasis has been placed on conducting comprehensive ecological-risk assessments of virus-resistant genetically modified organisms (GMOs) prior to their release into the environment. In this paper we report on the first stage in our assessment of the level of risk posed by virus-resistant transgenic Trifolium repens L. (white clover) to native plant communities in south-eastern Australia. We investigated the distribution, abundance and phytosociological characteristics of naturalised T. repens populations in two areas in the subalpine region of New South Wales (NSW) and the Australian Capital Territory (ACT), and determined the distribution and abundance of Alfalfa mosaic virus, Clover yellow vein virus and White clover mosaic virus in 31 populations of white clover in this region. We found that T. repens is a significant component of Poa grasslands and Eucalyptus–Poa woodlands in the subalpine region, but is absent or rare in Eucalyptus species forests and Carex–Poa species bogs. Clover yellow vein virus was by far the most common virus in the study area, being present in 18% of T. repens plants across a wide range of plant communities. Alfalfa mosaic virus and White clover mosaic virus were each recorded in only one white-clover population growing in a native plant community. We conclude that white clover is a significant constituent of subalpine grasslands and woodlands in the region studied, and that of the viruses investigated, Clover yellow vein virus is the most abundant and widespread.

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Smith, Murray. "Film, Art, and the Third Culture." Projections 12, no. 2 (December 1, 2018): 1–8. http://dx.doi.org/10.3167/proj.2018.120202.

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In this overview of my recent book, I outline its main themes, questions, and arguments. Part 1 explores the applicability of philosophical naturalism to aesthetics and the arts. Searching for the principles that might undergird a naturalistic or “third cultural” approach to the arts, I defend a model of “triangulation” that seeks consilience among phenomenological, psychological, and neurophysiological evidence and that relates to two further strategies: “thick explanation,” combining personal and “subpersonal” levels of analysis, and “theory construction,” conceived as an empirically oriented alternative to conceptual analysis. Part 2 examines emotion in the arts and in film as a relevant and fertile territory for a naturalized aesthetics, in relation to Charles Darwin’s account of the expression of the emotions, niche construction, and the theory of the “extended mind.”

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24

Ansell-Pearson. "Naturalism as a Joyful Science: Nietzsche, Deleuze, and the Art of Life." Journal of Nietzsche Studies 47, no. 1 (2016): 119. http://dx.doi.org/10.5325/jnietstud.47.1.0119.

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25

Silina, Maria. "The Struggle Against Naturalism: Soviet Art from the 1920s to the 1950s." RACAR : Revue d'art canadienne 41, no. 2 (November 25, 2016): 91–104. http://dx.doi.org/10.7202/1038074ar.

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En 1936, en Union soviétique, des critiques anonymes lancèrent une campagne répressive « contre le naturalisme et le formalisme ». Il devint alors impossible, pour plusieurs artistes, d’exposer leur travail et de participer à des concours artistiques. Les artistes « formalistes », tels le suprématiste Kasimir Malevitch et le réaliste analytique Pavel Filonov, étaient facilement identifiables, car ils étaient représentatifs du modernisme européen. La définition du naturalisme, par contre, était beaucoup moins précise. Perçu comme une reproduction presque photographique de la réalité, le naturalisme était pratiqué par les membres de l’Association des artistes de la Russie révolutionnaire. Dans cet article, nous étudions l’histoire de la notion de naturalisme en Union soviétique durant les années 1920–1950 et démontrons son importance pour la définition du réalisme socialiste.

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Bennett, James. "Islamic Art at The Art Gallery of South Australia." SUHUF 2, no. 2 (November 21, 2015): 285–90. http://dx.doi.org/10.22548/shf.v2i2.93.

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OVERÂ the past ten years, Australia has increasingly aware of Muslim cultures yet today there is still only one permanent public display dedicated to Islamic art in this country.Â Perhaps it is not surprising that the Art Gallery of South Australia in Adelaide made the pioneer decision in 2003 to present Islamic art as a special feature for visitors to this art museum. Adelaide has a long history of contact with Islam. Following the Art Galleryâ€™s establishment in 1881, the oldest mosque in Australia was opened in 1888 in the city for use by Afghan cameleers who were important in assisting in the early European colonization of the harsh interior of the Australian continent

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27

Berlo, Janet Catherine. "Australian Art Exhibition Catalog:Dreamings; The Art of Aboriginal Australia." Museum Anthropology 14, no. 2 (May 1990): 31. http://dx.doi.org/10.1525/mua.1990.14.2.31.

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Nutas, Andrei. "Review of Sorgner's Philosophy of Posthuman Art." International Journal of Technoethics 13, no. 1 (January 1, 2022): 1–7. http://dx.doi.org/10.4018/ijt.313197.

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The paper deals with a review of Sorgner's new book, Philosophy of Posthuman Art. The review highlights Sorgner's positioning of postmodern art as emerging from a way of dealing with the realities of ontological naturalism and epistemic perspectivism. It is also highlighted why the author believes that the avant-garde and modernist aesthetic is lacking in dealing with a world of technology embedded post-modernity. In this sense, Sorgner's arguments for the totalitarian aspects of the avant-garde are presented. The paper also offers a critique regarding Sorgner's continental focus, and an argument for why his 10 aesthetics of posthuman art could be boiled down to eight, before finalizing with a walk through Sorgner's view on a posthuman total work of art and his view leisure within a posthuman era.

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29

Zanotti, Pierantonio. "Beyond Naturalism: Sōma Gyofū, Italian Futurism, and the Search for a New “Art of Force”." Archiv orientální 85, no. 2 (September 18, 2017): 283–303. http://dx.doi.org/10.47979/aror.j.85.2.283-303.

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Sōma Gyofū (1883–1950), one of the most influential literary critics in Taishō Japan (1912–26), published a short essay called “Gendai geijutsu no chūshin seimei” (The central life in contemporary art) in the March 1913 issue of Waseda bungaku (Waseda literature). In it, after illustrating the shortcomings of a number of outlooks on modern life provided by European writers and philosophers, he praised Italian Futurism as the sole movement that came closest to his own ideal of an “art of force” able to cope with the anguished condition of man in a modern technological society. By combining historical research and a textual overview on publications that shaped Gyofū’s knowledge of Futurism, I show how Gyofū’s reception of Futurism was mediated by his philosophical background, which was characterized by an attempt at going beyond Japanese naturalism (shizenshugi). In that, “Gendai geijutsu no chūshin seimei” can be seen as representative of a transition in the Japanese literary scene, which, in the shift from the Meiji to the Taishō era, was experiencing a crisis of naturalism and the rise of discourses centred on “life,” the “self,” and their creative potential.

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Smith, Bernard. "On Writing Art History in Australia." Thesis Eleven 82, no. 1 (August 2005): 5–15. http://dx.doi.org/10.1177/0725513605054354.

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Boaden, Sue. "Education for art librarianship in Australia." Art Libraries Journal 19, no. 2 (1994): 5–6. http://dx.doi.org/10.1017/s0307472200008725.

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The growth of art history and art practice courses in Australia has been remarkable over the last 20 years. Unfortunately training for art librarianship has not matched this growth. There are eleven universities in Australia offering graduate degrees and post-graduate diplomas in librarianship but none offer specific courses leading towards a specialisation in art librarianship. ARLIS/ANZ provides opportunities for training and education. Advances in scholarly art research and publishing in Australia, the development of Australian-related electronic art databases, the growth of specialist collections in State and public libraries, and the increased demand by the general community for art-related information, confirm the need for well-developed skills in the management and dissemination of art information.

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Farr, Francine. "Dreamings: The Art of Aboriginal Australia." African Arts 22, no. 3 (May 1989): 84. http://dx.doi.org/10.2307/3336788.

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Fry, Tony, and Peter Sutton. "Dreamings: The Art of Aboriginal Australia." African Arts 23, no. 3 (July 1990): 91. http://dx.doi.org/10.2307/3336838.

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34

Killin, Anton. "Fictionalism about musical works." Canadian Journal of Philosophy 48, no. 2 (2018): 266–91. http://dx.doi.org/10.1080/00455091.2017.1357993.

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AbstractThe debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop a version of such an analysis in line with a broad commitment to philosophical naturalism.

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35

Davis, Jared Vaughan. "“Poetic naturalism” as a way beyond the postmodern tensions between art and science." Cardiovascular Diagnosis and Therapy 8, no. 6 (December 2018): 825–26. http://dx.doi.org/10.21037/cdt.2018.03.04.

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36

Innis, Robert E. "Aesthetic Naturalism and the «Ways of Art»: linking John Dewey and Samuel Alexander." RIVISTA DI STORIA DELLA FILOSOFIA, no. 3 (June 2017): 513–32. http://dx.doi.org/10.3280/sf2017-003009.

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37

Zurbrugg, Nicholas. "Sound art, radio art, and post‐radio performance in Australia." Continuum 2, no. 2 (January 1989): 26–49. http://dx.doi.org/10.1080/10304318909359363.

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Dorohan, Ilona V., Olha S. Boiko, Kateryna M. Kyrylenko, Svitlana V. Oborska, and Olha M. Shandrenko. "Naturalistic inquiries of M. Bashkirtseva as an artist." Linguistics and Culture Review 5, S4 (October 22, 2021): 33–43. http://dx.doi.org/10.21744/lingcure.v5ns4.1547.

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The study pioneers the naturalistic search of Bashkirtseva as an artist, which was expressed in her involvement in the creation of a new movement in art, including painting, defined as naturalism. Several aesthetically significant and self-sufficient stages of its development in the creative activity of Maria Bashkirtseva are presented. It is noted that in this process the noblewoman's high education at home with her interest in the interaction of literature and painting, which in due course was understood as aesthetically valuable for painting and the artist, was initially obtained. The importance of the next naturalistic stage of Bashkirtseva is underlined, which is conditioned by her rapid acquisition of the European urban culture, one of the specific features of naturalism, first of all, the French one with the priority of Parisian peculiarities. In this way, it is emphasized that Bashkirtseva was not only focused on the development of critical and pictorial-literary trends in naturalism but also involved in their creation, developing the synthesis of literature and painting. It is emphasized that Bashkirtseva in the mastery of Dostoevsky largely anticipated the concept of Bakhtin, “following” the images of the Russian classic, giving them their naturalistic meaning.

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Darragh, Thomas A. "Lothar Becker: a German naturalist in Victoria, 1849–52, 1855–65." Historical Records of Australian Science 30, no. 2 (2019): 119. http://dx.doi.org/10.1071/hr18020.

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Warning Readers of this article are warned that it may contain terms, descriptions and opinions that are culturally sensitive and/or offensive to Aboriginal and Torres Strait Islanders. Lothar Becker (1825–1901?), an unpretentious Silesian naturalist, twice visited the colony of Victoria and published rich and original observations on its natural history and Indigenous people on his return to Germany. On his first visit, 1849 to 1852, Becker recorded his encounter with Black Thursday, a devastating bushfire, its aftermath, and the, by then, still relatively uncleared landscape. He also related his experiences living for a time with an Indigenous family in the Omeo district. After adding to his store of natural history observations on a second visit, 1855 to 1865, Becker tried to make money from writing articles on diverse Australian topics such as ant nests, the sequence and timing of flowering, the distribution of weeds, the natural history of fungi and the world history of tobacco, in all but the latter characterised by a remarkable proto-ecological approach. Becker’s publications have been overlooked by subsequent scientific researchers, in part because he wrote for the popular press, and because his language was German. The life and work of Lothar Becker is introduced here for the first time, and translations provided of six of his articles on Victorian natural history, botany, mycology, horticulture, and anthropology. Reflections on Becker’s contribution to anthropology and to mycology are published in two associated articles by Howes, and May and Darragh.

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Hodgson, Derek, and Paul Pettitt. "The Origins of Iconic Depictions: A Falsifiable Model Derived from the Visual Science of Palaeolithic Cave Art and World Rock Art." Cambridge Archaeological Journal 28, no. 4 (May 3, 2018): 591–612. http://dx.doi.org/10.1017/s0959774318000227.

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Archaeologists have struggled for more than a century to explain why the first representational art of the Upper Palaeolithic arose and the reason for its precocious naturalism. Thanks to new data from various sites across Europe and further afield, as well as crucial insights from visual science, we may now be on the brink of bringing some clarity to this issue. In this paper, we assert that the main precursors of the first figurative art consisted of hand prints/stencils (among the Neanderthals and early Homo sapiens) and a corpus of geometric marks as well as a hunting lifestyle and highly charged visual system for detecting animals in evocative environments. Unlike many foregoing arguments, the present one is falsifiable in that five critical, but verifiable, points are delineated.

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Polzer, Joseph. "Concerning the chronology of Cimabue's oeuvre and the origin of pictorial depth in Italian painting of the later middle ages." Zograf, no. 29 (2002): 119–42. http://dx.doi.org/10.2298/zog0329119p.

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A study devoted to the gradual emergence of pictorial depth in Cimabue's paintings, and how it applies, together with other factors, to the understanding of their sequential chronology. The conclusions reached underscore the vast difference in Cimabue 's conservative art and the exceptional naturalism of the evolving Life of Saint Francis mural cycle lining the lower nave walls in the upper church of San Francesco at Assisi.

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Heinrich, Johannes. "Nietzsche und die Philosophie der Lebenskunst." Nietzsche-Studien 47, no. 1 (November 1, 2018): 442–57. http://dx.doi.org/10.1515/nietzstu-2018-0021.

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Abstract Nietzsche and the philosophy of the art of living. The books under review trace the network of relationships between Nietzsche and the ancient philosophy of the art of living. Further, Nietzsche’s idea of the art and style of living is placed in the context of existentialism and, above all, in close proximity to the philosophy of Søren Kierkegaard. It becomes clear that Nietzsche’s concept of the art of living cannot be reduced to the philosophical and historical context of classical concepts of self-care; rather, Nietzsche’s views have to be situated in the context of modern and current philosophical theories. In addition, questions such as the alleged naturalism in Nietzsche’s work, as well as the possible continuity between his early and late writings, are strongly related to the analysis of a Nietzschean art of living.

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Sêrro, Luís Manuel. "Seven Unknown Drawings by Luigi Manini." ATHENS JOURNAL OF HUMANITIES & ARTS 8, no. 3 (June 11, 2021): 231–60. http://dx.doi.org/10.30958/ajha.8-3-3.

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Luigi Manini, set designer at the Nacional Theatre of S. Carlos lived in the second half of the 19th century, which was characterized, in the field of aesthetics, by the transition from romanticism to naturalism. This article aims to analyze seven unknown drawings by Luigi Manini, as an expression and illustration of this artistic period. For this, we analyse the three major periods of art exhibition by Hegel in his work Aesthetics. Integrated in this analysis the evolution of artistic expression, with more emphasis, is illustrated the study of ornamentation, its nature, its importance in stylistic participation and, along its journey, the variation between the expression plane and the content plane that the ornament, as a sign, suffered. To conclude this journey, romanticism, used ornamentation as an evocative element of cultural styles and cultures, consistent with the essence of romanticism: a sublime expression. But in its final phase, romanticism evolved into naturalism that manifests, not the differentiated architectural element, but its collective nature. Urbanism is a social response of Architecture. The ornament loses, at this time, its symbolic value, but maintains its expression plan that was developed with an appreciation of its plastic value. It’s the ornate by the ornate that keeps, still, more time in Belle Époque; in Art Nouveau and Art Deco, to disappear completely in Modernism. These drawings, from an affirmation phase of Luigi Manini’s, are integrated at this time, and their analysis will be concluded from the historical conclusion of this article.

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Ossewaarde, Ringo, Tatiana Filatova, Yola Georgiadou, Andreas Hartmann, Gül Özerol, Karin Pfeffer, Peter Stegmaier, et al. "Review article: Towards a context-driven research: a state-of-the-art review of resilience research on climate change." Natural Hazards and Earth System Sciences 21, no. 3 (March 26, 2021): 1119–33. http://dx.doi.org/10.5194/nhess-21-1119-2021.

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Abstract. The twofold aim of this paper is to provide an overview of the current state of resilience research with regard to climate change in the social sciences and propose a research agenda. Resilience research among social scientists is characterized by much more diversity today than a few decades ago. Different definitions and understandings of resilience appear in publications during the last 10 years. Resilience research increasingly bears the mark of social constructivism, a relative newcomer compared to the more long-standing tradition of naturalism. There are also approaches that are indebted to both “naturalism” and “constructivism”, which, of course, come in many varieties. Based on our overview of recent scholarship, which is far from being exhaustive, we have identified six research avenues that arguably deserve continued attention. They combine naturalist and constructivist insights and approaches so that human agency, reflexivity, and considerations of justice and equity are incorporated into systems thinking research or supplement such research. Ultimately, we believe that the overarching challenge for future research is to ensure that resilience to climate change does not compromise sustainability and considerations of justice (including environmental, climate, and energy justice).

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Rosser, Gervase. "Beyond Naturalism in Art and Poetry: Duccio and Dante on the Road to Emmaus." Art History 35, no. 3 (April 4, 2012): 474–97. http://dx.doi.org/10.1111/j.1467-8365.2011.00897.x.

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VOREL, Jan. "From Searching for Cultural Integrity to Symbolism of Temple Building and the Organic Picture of Reality." Bohemistyka, no. 4 (November 3, 2021): 437–57. http://dx.doi.org/10.14746/bo.2021.4.1.

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The article is focused mainly on aesthetic-philosophical constants of the work of art of Julius Zeyer. The author of the article tries to point out that Zeyer´s conception of art is tightly connected with artistic conceptions of the rising literary symbolistic generation: His aesthetic-philosophical system contains strong protest against rationalism, realism and naturalism in contemporary literature and underlines the way to subconscious roots of human existence; it turns away from rational understanding of the world and the mystical intuition of inner and organic life in modern literature. In the article the motifs of temple building and motifs of creating the organic picture of the world in Zeyer´s work of art are analysed. The article also contains main references to Zeyer´s work of art published by reputable names of the Czech and European literary criticism.

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Esposito, Luca. "reality effect': the figure seen from behind in Carracci's art." Acta ad archaeologiam et artium historiam pertinentia 32, no. 18 N.S. (September 13, 2021): 9–28. http://dx.doi.org/10.5617/acta.9025.

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This article focuses on Carracci's frequent use of the figure seen from behind in their graphic and pictorial oeuvre (i.e., in the frescoes in Palazzo Fava, in the Cloister of San Michele in Bosco by Ludovico, in the series of the body in art by Annibale, and the engravings Ogni cosa vince l'oro by Agostino). It claims that the figure seen from behind plays a rhetorical function instrumental to the Carracci's search for a new form of naturalism in painting. In particular it creates a 'reality effect' that enhances the naturalistic rendering of the pictorial composition. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.

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Sijia, Liu. "Naturalism in the Painting of the Leiden School and its Chief Representatives." ICONI, no. 2 (2021): 41–47. http://dx.doi.org/10.33779/2658-4824.2021.2.041-047.

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The article is devoted to Dutch art — the Leiden School in Holland in the 17th century. The author analyzes the defi nition, particularities and the theoretic foundations of the characteristics and the artistic legacy of the painters — the representatives of the Leiden school and also demonstrates the close connection between naturalism and the particularities of the paintings of the school’s adherents and the uniqueness of the works by such masters as Rembrandt Harmenszoon van Rijn, Gerrit Dou and Frans van Mieris the Elder.

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Welch, David. "Plant motifs in Kimberley rock-art, Australia." Before Farming 2003, no. 4 (January 2003): 1–13. http://dx.doi.org/10.3828/bfarm.2003.4.5.

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Speck, Catherine. "Camouflage Australia: Art, Nature, Science and War." Australian Historical Studies 44, no. 1 (March 2013): 162–63. http://dx.doi.org/10.1080/1031461x.2013.761649.

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