Journal articles on the topic 'Pictorial works'
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Dviniatina, J. R. "Pictorial Pretexts in A. Tarkovsky’s Works." Art & Culture Studies, no. 1 (March 2024): 102–37. http://dx.doi.org/10.51678/2226-0072-2024-1-102-137.
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The broad topic “Tarkovsky and painting” contains commonalities, such as the director’s citing of the paintings by Pieter Bruegel or Leonardo da Vinci, but there are also less explored aspects. The latter include A. Tarkovsky’s method of working with images based on the work principles of the old masters of painting; implicit references and allusions not just to individual paintings, often not yet described, but to the entire worlds of certain authors or movements; and a total commitment to quotation together with a skilful and deliberate disguise of the technique, also described by the director in theoretical works. Tarkovsky was an artist in the very first sense of the word — a student of an art school, author of film sketches and storyboards, paintings, and even art history works. However, the main thing regarding the topic “Tarkovsky and painting” is his application of the very vision of a painter in his own work. He worked with frame structures in complex ways, often appealing to the repetition of the recursion technique, like great artists did in their works. He used iconographic repetitions in plots, themes, individual images, details, and motifs of his works. He often implicitly alluded to reference pictorial sources in such a way that without the testimony of colleagues the reference is impossible to guess. He applied the entire philosophical concepts assigned to individual artists and artistic movements and was not afraid to mix eras, using the elements and techniques of his predecessors to create his own film painting, finely crafted but full of anachronisms.
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Bragina, Liubov. "Shukshin’s Theme in the Pictorial Works of Siberian Artists." Izvestiya of Altai State University 2, no. 2 (November 2013): 202–5. http://dx.doi.org/10.14258/izvasu(2013)2.2-43.
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Cerquera Hurtado, Miguel Ángel. "Libros y escritura en la pintura de Murillo." ACCADERE. Revista de Historia del Arte 6 (2023): 37–63. http://dx.doi.org/10.25145/j.histarte.2023.06.02.
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"This article addresses the world of books in the pictorial works of Bartolomé Esteban Murillo. Firstly, it focuses on studying the formal representation of books depicted in the paintings of the Sevillian artist, analyzing their binding, closures, format, cuts, inscriptions, and other relevant aspects. Secondly, it examines all the elements present in these paintings from which we can obtain information related to the reading and writing practices characteristic of the 17th century. The aim is to demonstrate how pictorial works offer us insights into various aspects of books and written culture, often going beyond what meets the eye."
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Khomenko, Iryna. "Body as a medium in the works of Maria Kylikovska." CONTEMPORARY ART, no. 18 (November 29, 2022): 201–10. http://dx.doi.org/10.31500/2309-8813.18.2022.269730.
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The article considers the topic of the body in art, its methods of use and the problem of its theoretical elaboration. The aim of the article is to study the body as a medium in the works of Maria Kulikovska. The choice of Maria Kulikowska’s work is not accidental, because she used the body both as a medium and as a pictorial object in one work, where we can observe exactly how these methods are combined. Also, Maria Kulikovska uses different visual categories of body, gender and context, sometimes combining them. The article marked the beginning of a certain systematization: the body is divided by visual categories, by sex / gender and by the context in which this body is used. The body-medium, which is the material in the work and participates in the creation of the works of art, and the body-pictorial, that is, what is reflected on the canvas, in sculpture, architecture, and so on. The article proves that the theme of the body in art is important and needs further study, systematization and establishment of new terms.
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Karpenko, Olga. "Reminiscences of Impressionism in the works of Ukrainian avant-garde artists." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 194–99. http://dx.doi.org/10.32461/2226-0285.1.2021.238620.
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The purpose of the study is to reveal the identification of common features in the work of Ukrainian avant-garde artists, which have the character of impressionism. Methodology of the study employs historical-logical, comparative methods, formal analysis and method of interpretation. Scientific novelty of the research consists in the role of impressionism in the formation of the creative manner of such artists of the Ukrainian avant-garde as O. Bogomazov, D. Burliuk, K. Malevich, O. Exter was first explored in the article. Conclusions. Experiments in the spirit of impressionism and post-impressionism helped the representatives of the Ukrainian avant-garde to free themselves from the method of repetition of the full-scale image towards the free transformation of the pictorial sensation and construction of the work with the help of purely pictorial elements, discarding the plot, literature, instructive character and many other layers. Impressionism was the first step in freeing painting from the boundaries of material form
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Semerenko, Lubov I., and Oleksandr O. Pliushchai. "Pictorial as readable: ekphrasis in a literary work and reader’s p." Alfred Nobel University Journal of Philology 1, no. 23 (June 2022): 50–59. http://dx.doi.org/10.32342/2523-4463-2022-1-23-4.
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The interaction of arts which poets, writers, artists, scholars and philosophers have always paid considerable attention, has gained popularity recently and it has been given serious consideration in art history, literary and cultural studies, and aesthetics. Some researchers explain a growing interest in the phenomenon of increasing significance of visuality in modern culture. The aim of the article is to clarify the status quo in the study of ekphrasis in literary and cultural studies. To achieve the aim pursued, the following research methods have been used: cultural-aesthetic, comparative and hermeneutic. The paper focuses on the concept of ekphrasis and its use in literary works and studies the current trends in the study of ekphrasis, regarding its definition, typology, functions, ekphrastic genre invariants, and reader’s perception of ekphrasis. Some exemplary instances of ekphrasis description in English ekphrastic poetry and emotive prose have been considered, and the verbal means of ekphrasis generation have been analysed. The analysis of the most popular works of domestic and foreign scholars such as: N.S. Bochkareva, L. Geller, N.N. Yefimova, A.Yu. Krivoruchko, V. Cunningham, J. Hollander, L. Spitzer and many others, has allowed to make the conclusion that most scholars use the definition of ekphrasis as a “poetic description of a pictorial or sculptural work of art” suggested by Leo Spitzer, although, the definition of ekphrasis as a “verbal representation of visual representation” of James Hefferman, which is a broader concept is also popular. Different classifications of ekphrasis have been suggested by the researchers. N. Braginskaya, for instance, distinguishes the dialogical and monological ekphrasis on the basis of the internal structure of the text, the main difference being the manner of presenting information to the reader. The typology of ekphrasis and its main functions are mainly given on the basis of creative works of a particular writer or poet and many researchers pay attention to sense general features of ekphrasis as the process which combines iconic and sign images in verbal discourse. Ekphrasis, being the representation of other arts in literature, expands considerably the narrative space. The origin of ekphrasis goes back to the ancient times where it is seen as a rhetorical device. In classical rhetoric, ekphrasis could refer virtually to any extended description of art objects. Ekphrasis, an ancient rhetorical term, has been now revived in academic circles, in the studies of art and literature. After languishing in obscurity until 1967, when Murray Krieger published a notable essay on it, ekphrasis is commanding major attention, “ploughing the inexhaustibly fertile ground where literature meets visual arts”. There are various approaches to the study of the ekphrastic tradition, and the historical approach being one of them, can be seen in many works. Ekphrasi in modern research is a multifaceted and polyfunctional phenomenon. The typology of ekphrasis and its main functions are mainly given on the basis of the particular poet`s or writer`s creative works, paying attention to some general features of ekphrasis which combines iconic and sign images in verbal discourse. The phenomenon of ekphrasis merits further consideration, especially, due to the availability of Liliane Louvel’s The Pictorial Third: An Essay into Intermedial Criticism, which provides the author’s innovative approach to the understanding of the relationships between the literary text and image.
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Trukhan, E. D. "THE NAIVE ARTIST IVAN SELIVANOV IN THE POETRY AND PROSE OF LYUBOV NIKONOVA." Culture and Text, no. 51 (2022): 116–31. http://dx.doi.org/10.37386/2305-4077-2022-4-116-131.
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The article examines the dialogue of words and painting in the works of Kuzbass authors – writer L.A. Nikonova and naive artist I. Selivanov. Theoretical issues of perception of painting, problems of intersection of pictorial and verbal creativity, etc. are revealed in connection with the analysis of metatext, with an emphasis on L.A. Nikonova’s understanding of the image of I.E. Selivanov as an artist close to her in spirit.
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Pazuchanics, Skye Lee, and Douglas J. Gillan. "Displaying Depth in Computer Systems: Lessons from Two-Dimensional Works of Art." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 49, no. 17 (September 2005): 1583–87. http://dx.doi.org/10.1177/154193120504901718.
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Virtual depth displays depend on static, monocular cues. Models of integrating monocular cues may be continuous (additive) or discontinuous. Previous research using simple displays and a small number of cues supported continuous cue integration. The present research is designed to expand the understanding of how the visual system integrates information from multiple pictorial cues by investigating combinations of one to ten pictorial cues in visually-rich, two-dimensional displays (paintings and photographs). Participants estimated depth in target paintings and photographs relative to a standard two dimensional display. Certain results suggest that the visual system integrates cues in a largely additive way, but after a number of cues are present there may be an additional boost in perceived depth resulting in a best-fittingdiscontinuous model of cue combination. However, this discontinuous effect may be due to designdecisions made by the painters rather than exclusively to the perceptual processes of the viewers. Analyses of these design decisions provide lessons for the design of two-dimensional displays.
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BRANIŞTE, Ludmila. "Text et langaje visuel: un proces de mise en abîme." Arta 31, no. 1 (September 2022): 115–19. http://dx.doi.org/10.52603/arta.2022.31-1.16.
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The problem of the pictorial past in literature and of literary influences in painting has created a whole tradition. The literary experience of the image and the pictorial exercise in literature demonstrated the affinities between them, based on a specific view of the world. From contemporary philosophy, culture and literature, painting chooses its elements, symbols and ideational background, which is the substrate of the pictorial work. Translating them into the language of images, the painter reaches a more personal interpretation of literary works. The article presents a reflection on the prolific artistic career of the artist Cezar Secrieru, whose work creates a unique creative dynamic by transposing the mental and literary image into his canvases. The “Correspondences” of the arts enrich the deep ideational background of his creation, but also the diversification of the pictorial meanings potential.
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Koenderink, Jan. "Parts and Wholes in Pictorial Art." Art & Perception 3, no. 3 (2015): 303–17. http://dx.doi.org/10.1163/22134913-00002035.
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The part–whole relation is fundamental to the Gestalt description of visual awareness; therefore one expects it to play an equally important role in the visual arts. The formal science of parthood relations is mereology. Thus, it is natural to attempt to construct a mereological account of the structure of works of the visual arts. However, I argue in this paper that such a program is headed for failure. There are various reasons for this, perhaps the more interesting being that one deals with parallel pictorial worlds.
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Sabra, Nour Elhoda. "Critique of the Arabic Translation Strategies of Verbo-Pictorial Gendered Metaphor: Doris Lessing's The Cleft." International Journal of Linguistics and Translation Studies 4, no. 1 (January 31, 2023): 32–46. http://dx.doi.org/10.36892/ijlts.v4i1.290.
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This article is mainly concerned with the strategies employed in translating verbo-pictorial gendered metaphor when used as a literary work cover. It focuses on the translation strategies employed by Arab translators in translating the cover of Doris Lessing's novel The Cleft. It raises the questions of to what extent translating a verbo-pictorial gendered metaphor employed as a literary work cover may clarify and elucidate nontraditional new images in different cultures. The article also emphasizes how a verbo-pictorial gendered metaphor plays a role in structuring gender relation new images. The article argues that the translation of gendered metaphors that appeared in feminist literary works invites different translation strategies when it is translated from English into Arabic.
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Dyachenkova, Olga V. "LINE AS THE ORNAMENTAL MATRIX OF DUTCH ART NOUVEA: JAN TOOROP AND JAN THORN-PRIKKER." Articult, no. 2 (June 28, 2023): 23–36. http://dx.doi.org/10.28995/2227-6165-2023-2-23-36.
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This article examines the line as a means of artistic expression in the Dutch variant of Art Nouvea. Inspired by natural motifs, techniques of the English, French and Belgian schools, as well as Egyptian and Indonesian aesthetics, the line marked a break with traditional forms and an exit to abstract art. The aim of this article is to analyze the pictorial and graphic works of Jan Toorop and Jan Thorn-Prikker. Particular attention will be paid to how a pictorial motif develops into ornamentation. The theoretical works of Humbert de Superville and Johannes Vloten on the problem of the relationship between line and image are considered as part of the analysis. The relevance of the article is due to the insufficient study of Dutch Art Nouveau morphology.
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Vodopianova, Anna I., Liudmila A. Leonova, and Anna E. Novak. "The art market: Features of investing in works of pictorial art." St Petersburg University Journal of Economic Studies 34, no. 1 (2018): 95–112. http://dx.doi.org/10.21638/11701/spbu05.2018.105.
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Madrid Garcia, Jose Antonio. "Use of telemetry X-ray techniques in large-size pictorial works." Ge-conservacion 5 (November 19, 2013): 101–9. http://dx.doi.org/10.37558/gec.v5i0.170.
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In recent years, with the rise of digital technologies and the concurrent demise of related analog instrumentation, researchers in the field of cultural heritage have faced significant new challenges implementing digital solutions. Specifically, this shift has prompted the use of new protocols for the application of radiology in the study of art works.. However, due to this change, there has been a return to using older film formats, which is one of the problems that has already been solved using an industrial-type analogical system that allowed large-format X-ray support, and that was able to adapt to almost any surface. Therefore, this study attempts to rectify the limits of digital X-ray techniques by using telemetry X-ray techniques. At the Laboratory of Documentation and Registration (IRP, or Institute for the Heritage Restoration), based at the Universitat Politècnica de Valencia (UPV), Spain, mobile telemetry X-ray equipment has been designed and implemented that allows the adaptation of large-size pictorial works.
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Gavrilin, K. N., G. K. Koshelev, and Fei Lu. "Portrait genre in Mao Yan's works. The experience of pictorial hauntology." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 4-3 (2022): 34–41. http://dx.doi.org/10.37485/1997-4663_2022_4_3_34_41.
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Eeckhout, Riet. "Attuned Rigour: Between Pictorial and Material Conditions." Architectural Design 94, no. 2 (March 2024): 58–67. http://dx.doi.org/10.1002/ad.3035.
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AbstractLebbeus Woods's extraordinary proficiency and mastery in different media was matched by his steady and fast pace of exploration. Riet Eeckhout, a drawings researcher and drawer herself, who teaches at KU Leuven, ponders this dexterity. Her focus is on the rigour of Woods's early works produced in Mylar and pastels, and on the carefully delimited spatial vocabulary – agency obtained through the capacity of the drawing to function outside explicit representation.
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Koenderink, Jan, Andrea van Doorn, Baingio Pinna, and Robert Pepperell. "On Right and Wrong Drawings." Art and Perception 4, no. 1-2 (December 8, 2016): 1–38. http://dx.doi.org/10.1163/22134913-00002043.
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Are pictorial renderings that deviate from linear perspective necessarily ‘wrong’? Are those in perfect linear perspective necessarily ‘right’? Are wrong depictions in some sense ‘impossible’? Linear perspective is the art of the peep show, making sense only from one fixed position, whereas typical art works are constructed and used more like panel presentations, that leave the vantage point free. In the latter case the viewpoint is free; moreover, a change of viewpoint has only a minor effect on pictorial experience. This phenomenologically important difference can be made explicit and formal, by considering the effects of panning eye movements when perusing scenes, and of changes of viewpoint induced by translations with respect to pictorial surfaces. We present examples from formal geometry, photography, and the visual arts.
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Wade, Nicholas J. "On Stereoscopic Art." i-Perception 12, no. 3 (May 2021): 204166952110071. http://dx.doi.org/10.1177/20416695211007146.
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Pictorial art is typically viewed with two eyes, but it is not binocular in the sense that it requires two eyes to appreciate the art. Two-dimensional representational art works allude to depth that they do not contain, and a variety of stratagems is enlisted to convey the impression that surfaces on the picture plane are at different distances from the viewer. With the invention of the stereoscope by Wheatstone in the 1830s, it was possible to produce two pictures with defined horizontal disparities between them to create a novel impression of depth. Stereoscopy and photography were made public at about the same time and their marriage was soon cemented; most stereoscopic art is now photographic. Wheatstone sought to examine stereoscopic depth without monocular pictorial cues. He was unable to do this, but it was achieved a century later by Julesz with random-dot stereograms The early history of non-photographic stereoscopic art is described as well as reference to some contemporary works. Novel stereograms employing a wider variety of carrier patterns than random dots are presented as anaglyphs; they show modulations of pictorial surface depths as well as inclusions within a binocular picture.
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Feng, Hanping, and Safrizal Shahir. "An Analysis of Spatial Construction in Pictorial Art from the Perspective of Formalism." Harmonia: Journal of Arts Research and Education 24, no. 1 (July 5, 2024): 149–57. http://dx.doi.org/10.15294/harmonia.v24i1.42152.
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“Space,” as a fundamental conceptual term, has been frequently and widely applied within various disciplines, such as sociology, architecture, philosophy, math, art, and so forth. In pictorial art, the term “space” is often used as a lens to understand specific concepts or artworks. This study aims to explain and describe pictorial spatial construction in paintings by applying various approaches. However, in the field of formalist analysis over the past century, except for a few formalist critics who have engaged with pictorial space, few have attempted to use creative methodologies to systematically analyze how pictorial space is constructed in the painting, particularly in works by contemporary painters. Therefore, to fill in this lacuna in the research, this study utilizes new formal analytical methods to analyze and explain spatial construction in paintings. In terms of the method of analysis, this study analyzes a sample of Western contemporary paintings and utilizes the approaches of the overlap of the abstract and the figurative, parallel narratives existing in multiple spaces, and the juxtaposition of different material dimensions, respectively, to rethink the method of spatial construction in the painting. The result concludes that paintings are an essential research object within visual art. The construction of image space is rich and includes multiple layers of meaning. The overlapping of abstract space (sensibility) and figurative space (rationality), as well as the coexistence of this contradictory system, enables artists to discover more possibilities when creating works and effectively enrich visual effects and textures in their paintings.
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Yan, Bin. "Themes of Chinese painting and their evolution in the process of development of pictorial art." Философия и культура, no. 7 (July 2023): 86–96. http://dx.doi.org/10.7256/2454-0757.2023.7.43669.
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In the process of interpreting works of pictorial art, it is easier to understand not the "style", but the "theme", that is, not how to write, but what to write. In the history of modern art, which attaches more importance to "style", the problem of "theme" is not fundamental and is among the primitive issues worthy of the attention of amateurs who do not understand art. However, sometimes it is in simplicity that the essence lies. The simplest questions that interest almost everyone are the link between works of art and society. When analyzing the "topic", the subject under study is not confined to one work of art, since an integrated approach to the consideration of the problem should be used. The author's main contribution to the study of the history of the development of Chinese painting is a new perspective – the analysis of works based on the "theme". The results of the study revealed the main themes of Chinese pictorial art, identified the main reasons for referring to them, and also established their symbolic meaning, connection with philosophical and literary traditions. The important role of literary scientists in determining the directions of thematic development of Chinese landscape painting is revealed, the significance of the images of the fisherman and the traveler as carriers of the spiritual content of the landscape is determined. The conclusion is made about the prominence of certain themes in the pictorial art, depending on the processes of social development of China.
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Firstov, Valeriy, Victor Firstov, Alexander Voloshinov, and Paul Locher. "The Colorimetric Barycenter of Paintings." Empirical Studies of the Arts 25, no. 2 (July 2007): 209–17. http://dx.doi.org/10.2190/10t0-2378-0583-73q4.
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The locations of the colorimetric barycenter or “center of gravity” of the pictorial fields of paintings were compared graphically with the geometric centers of the art works. The art stimuli consisted of reproductions of 1332 paintings of different compositional genres created by renowned Russian artists. It was observed that artists' manipulation of a color palette and their spatial control of color within a composition resulted in the location of the colorimetric barycenter of a painting corresponding closely to its geometric center for both representational and abstract paintings. This finding demonstrates the power of the center of a pictorial field to function as a balancing point about which artists exert spatial control of color among all of the compositional colors and the areas they occupy within a pictorial field.
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Mouhoubi, Kamel, Vincent Detalle, Jean-Marc Vallet, and Jean-Luc Bodnar. "Improvement of the Non-Destructive Testing of Heritage Mural Paintings Using Stimulated Infrared Thermography and Frequency Image Processing." Journal of Imaging 5, no. 9 (August 29, 2019): 72. http://dx.doi.org/10.3390/jimaging5090072.
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Within the framework of conservation and assistance for the restoration of cultural property, a method of analysis assistance has been developed to help in the restoration of cultural heritage. Several collaborations have already demonstrated the possibility of defects detection (delamination, salts) in murals paintings using stimulated infrared thermography. One of the difficulties encountered with infrared thermography applied to the analysis of works of art is the remanence of the pictorial layer. This difficulty can sometimes induce detection artifacts and false positives. A method of thermograms post-processing called PPT (pulse phase thermography) is described. The possibilities offered by the PPT in terms of reducing the optical effects associated with the pictorial layer are highlighted first with a simulation, and then through experiments. This approach can significantly improve the study of painted works of art such as wall paintings.
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Silantieva, Valentina. "TRANSFER AND TRANSFORMER IN THE INTERDISCIPLINARY ARTISTIC SPACE (LITERATURE AND PICTORIAL ART)." Herald of Culturology, no. 2 (2022): 127–48. http://dx.doi.org/10.31249/hoc/2022.02.07.
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The article considers the opportunities of cultural transfer as a method of studying interspecies ties involving art and literature. It also reflects the organic nature of the transfer usage in the field of comparative studies. Mention should also be made that the present paper introduces some refinements of a theoretical nature and demonstrates the application of the method to the analysis of particular works. The polemical nature of the article is associated with the concept of «transformer», which, according to the author, is more consistent with the analysis of postmodern works and works of «new reality».
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Simanowski, Roberto. "Literature and digital media: notes on theory and aesthetics." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 8, no. 1 (October 28, 2020): 11–21. http://dx.doi.org/10.14195/2182-8830_8-1_1.
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In this keynote lecture, Roberto Simanowski combines close reading of single works with a media-ontological reading of digital art and digital literature. The folowing works are analysed in detail: Romy Achituv and Camille Utterback’s Text Rain (1999); Bit.Fall (2006) by Julius Popp; Still Standing by Jason Lewis (2005); and Caleb Larsen's The Complete Works of W.S. (2007). The analyses suggest that, while remaining essentially a textual medium, the computer increasingly visualizes communication, thus restoring the pictorial nature of early forms of writing.
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Cavazzana, Alessandro, and Marianna Bolognesi. "Uncanny resemblance." Cognitive Linguistic Studies 7, no. 1 (August 19, 2020): 31–57. http://dx.doi.org/10.1075/cogls.00048.cav.
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Abstract What is the relation between the three following elements: words, pictures, and conceptual representations? And how do these three elements work, in defining and explaining metaphors? These are the questions that we tackle in our interdisciplinary contribution, which moves across cognitive linguistics, cognitive sciences, philosophy and semiotics. Within the cognitive linguistic tradition, scholars have assumed that there are equivalent and comparable structures characterizing the way in which metaphor works in language and in pictures. In this paper we analyze contextual visual metaphors, which are considered to be the most complex ones, and we compare them to those that in language are called indirect metaphors. Our proposal is that a syllogistic mechanism of comprehension permeates both metaphors expressed in the verbal modality as well as metaphors expressed in the pictorial modality. While in the verbal modality the metaphoric syllogism is solved by inference, we argue that in the pictorial modality the role of inference is performed through mental imagery.
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Voloshko, Anna V. "Peter the Great’s Naval Campaigns Series (1860–1877) of Alexey Bogolyubov: The Evolution of Artistic Language." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 3 (2021): 304–21. http://dx.doi.org/10.15826/izv2.2021.23.3.061.
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This article focuses on the history of a series of paintings by Alexey Bogolyubov which was devoted to Peter the Great’s naval campaigns and created between 1860 and 1877 at the commission of Alexander II. Bogolyubov’s series of naval battle scenes has not been studied individually before. Dispersed across various public and private collections, the paintings have lost their role as a pictorial ensemble. Besides, the fate of three of the eight paintings remains unknown, and they can only be judged by indirect sources: archival and literary sources, copies, studies, and preparatory graphic works. Collected and systematised in this article, these materials make it possible to present the development of the series and Bogolyubov’s pictorial language over a decade and a half at the peak of his artistic career. An analysis of the pictorial features of this cycle of paintings and some other works reveals a change in the artistic techniques during the creation of the series. Also, the author identifies works of Bogolyubov’s predecessors on similar subjects and reveals features of their stylistic similarities and differences from those of Bogolyubov’s. The author traces the connection between Bogolyubov’s choice of subjects in the paintings and the state of naval history, more particularly, their connection with the works of Feodosy Veselago. In addition, the author reveals a case of change in the original idea of the composition of The Battle of Gangut and its division into three paintings consistently reflecting the course of the battle. Additionally, the article compares the routes of hydrographic expeditions and travels as part of the entourages of Tsesarevich Nicholas Alexandrovich and Tsesarevich Alexander Alexandrovich and places related to events of Peter the Great’s reign. Thus, the research demonstrates Bogolyubov’s search for a maximum accumulation of historical material and documentary depiction of events.
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Young, Stephen L. "The Role of Pictorials in Environmental Safety Signs." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 41, no. 2 (October 1997): 797–800. http://dx.doi.org/10.1177/107118139704100215.
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The present study examined the role of pictorials in environmental safety signs. Thirty subjects created thirty signs on the computer with the aid of a technician. Subjects had different sign components available to them (e.g., signal words, verbal statements and pictorials). There were three different pictorial conditions in this study: none, generic (e.g., triangle with exclamation point), and specific (i.e., the pictorial's content was related to the hazard being described). Examination of the constructed signs suggests that the primary purpose of pictorials is to convey information and not simply to attract attention—specific pictorials were used most of the time that they were available, while generic pictorials were used very infrequently. Specific pictorials were generally used in a redundant manner—that is, they tended to be added to existing signs rather than being used to replace other, non-pictorial information. Finally, the use of specific pictorials affected the size of other, non-pictorial components. This study suggests that pictorials are an important component in environmental safety signs, but only to the extent that they serve some functional purpose related to the sign being constructed.
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Batyreva, Svetlana G. "Выставка изобразительного искусства, посвященная 500-летию эпоса «Джангар»: первые профессиональные художники Калмыкии." Монголоведение (Монгол судлал) 12, no. 2 (August 25, 2020): 302–14. http://dx.doi.org/10.22162/2500-1523-2020-2-302-314.
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The article examines the emergence of Kalmykia’s professional arts activities in the 1930s. Goals. It seeks to review formation stages of the ethnic school, determine its essentials and local features as part of Soviet artistic culture. In this regard, a fundamental research problem is that the vast majority of local pre-war visual arts works had been lost during the Great Patriotic War and Kalmyk deportation (1943–1956). Materials and Methods. Considered are works of Kalmykia’s first professional artists ― such as I. Nuskhaev, L. Ochirov,R. Bogoslavsky, etc. ― inspired by epic heritage and realia of Socialist construction. The study employs a historical-and-cultural approach which determines the use of sources (archival papers, eyewitness reports, available pictorial works and studies); characterizes the pre-war life of the republic and its integration into Socialist cultural environment. Results. The paper reveals a central event of the era, examines the preparation and arrangements of the 1940 jubilee exhibition to celebrate 500 years of the Kalmyk heroic epic of Jangar. Conclusions. Cultural heritage proved most essential to the formation of Soviet Kalmykia’s pictorial arts trend, central to the latter being traditions of Russian realistic art represented by ethnos-related works of V. Favorsky and his colleagues.
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Belozerova, Vera. "The Unity of the “Four Perfections” (si jue) in the Works of Wu Changshi (1844–1927)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2022): 184. http://dx.doi.org/10.31857/s086919080020440-1.
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The article is devoted to the creativity of Wu Changshi (1844–1927), who played a key role in preserving the continuity of Chinese fine art at the crucial initial stage of the global modernization of China's traditional culture. The subject of the study is the aesthetics of the unity of the “four perfections” (si jue), which means poetry, calligraphy, painting and seals. The synthesis of the four arts seems to be a unique achievement of Chinese culture, which influenced the countries of the hieroglyphic area. Wu Changshi's creativity is considered the culmination of the embodiment of the principle of unity of the “four perfections”. Wu Changshi's calligraphic and pictorial works are accompanied by poems most often of his own composition. Before Wu Changshi's creative impulse gained visual realization, he was invariably subjected to deep poetic and philosophical reflection, which predetermined the content of calligraphic and pictorial works. Thanks to this, the meanings of visual forms went beyond their genre affiliation. Wu Changshi created a variety of spatial and force effects in a small format of seals. Wu Changshi's monumental and heroic style in calligraphy had no equal in its energy power and corresponded to the demands of the time. Wu Changshi reformed the pictorial tradition in the direction of epigraphic painting, combining elite intellectualism with the folk immediacy of color perception. The work is based on the latest publications of Chinese and Western art critics. The research combines the techniques of traditional Chinese art studies with the methods of Western interdisciplinary analysis.
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Dimitriev, Viktor Mikhalovich. "A PICTURE BY DOSTOEVSKY AND A PANORAMA BY TOLSTOY: ON THE HISTORY OF A PARALLEL IN THE WORKS BY VYACH. IVANOV AND ANDRÉ GIDE." Russkaya literatura 3 (2021): 36–49. http://dx.doi.org/10.31860/0131-6095-2021-3-36-49.
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The article deals with the pictorial analogy used in V. Ivanov and André Gide’s works on Dosto-evsky. According to the analogy, the artistic technique of Tolstoy can be associated with the diffused light, while the one of Dostoevsky — with the art of chiaroscuro. We are trying to understand if Gide could have been familiar with the work by Ivanov; what historical, literary and art history works could have served as a common source for this analogy, and how the analogy functions in the works by the two authors.
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Polyakov, E. N., and O. P. Polyakova. "Life in Switzerland of Charles-Édouard Jeanneret known as Le Corbusier." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 23, no. 3 (June 28, 2021): 9–20. http://dx.doi.org/10.31675/1607-1859-2021-23-3-9-20.
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The article is devoted to the early design and social activities of the extraordinary French architect Charles-Édouard Jeanneret known as Le Corbusier (1887–1965), who is considered to be one of the founders of European Functionalism. His first design and pictorial works are considered together with his trips to Western Europe and the Middle East. This experience helped the architect to create his first conceptual versions and models of the modern architecture, which will be described in our further works.
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Pratama, I. Gede Yudha. "KAJIAN BAHASA RUPA BUDAYA MESATUA BALI DALAM CERITA BERGAMBAR." Jurnal Bahasa Rupa 5, no. 1 (October 28, 2021): 112–21. http://dx.doi.org/10.31598/bahasarupa.v5i1.775.
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Reviving oral traditions in Mesatua Balinese Culture seems far less than the written and image tradition. Mesatua Bali was once known as a culture that is conveyed by verbal storytelling, now it seems that it will be more efficient and interesting if it is copied in the appearance of a pictorial story (cergam), and it will be more interesting if it is presented in digital media. Interestingly, pictorial stories (cergam) greatly influence children's interest in following Balinese Mesatua culture. The Nusantara Katur Community adapts the Mesatua Balinese culture into a pictorial story made with a visual appearance that can arouse children's imagination when they can see. reading, and hearing a series of story satua (fairy tales) contained in a series of pictorial stories (cergam). Researchers used descriptive research methods to describe the characteristics of shape, color and composition through the study of visual language theory, starting from the content of the wimba, the way of the wimba, and the inner and outer layouts, in the view of pictures and documentation of the pictorial story works of the Nusantara Katur Community. The collection of materials is done by technique data reduction and data preparation to the conclusions presentation process. This research provides results results of visual language very indispensable role in supporting the illustrated story stories (cergam) that are presented. In addition to displaying visual images that are able to captivate children, they must also be able to present the plot of a story that is also attractive to children, because it is through a story idea that visuals can be created that are able to attract children's reading interest in pictorial stories (cergam).
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Dimarco, Christa R. "Van Gogh’s Parisian Gardens on the Butte Montmartre." Nineteenth Century Studies 34 (November 1, 2022): 1–41. http://dx.doi.org/10.5325/ninecentstud.34.0001.
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Abstract Vincent van Gogh generated around 150 paintings, plus drawings and works on paper, while he lived in Paris from 1886 through 1888. Scholars tend to focus on the paintings he made after he left the capital for the Provençal town of Arles. Iconic Arlesian images such as Night Café and Sunflowers have overshadowed the Paris-period paintings and, in turn, the sociocultural underpinnings of his oeuvre. This essay focuses on one of the largest bodies of imagery Van Gogh completed in Paris: a series depicting small gardens for the working class that sprawled down a hill behind a popular tourist attraction on the Butte Montmartre. These works have been seen as depictions of rural Montmartre, but the essay locates them in the context of tourism and also connects them to Émile Zola’s 1873 novel Le Ventre de Paris. In doing so, the author views Van Gogh’s seemingly traditional landscapes as departing from the pictorial compositions he studied and embracing instead a pictorial frame that conveys the subjugation of the working class amid social reform efforts related to communal gardens.
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FURUBE, Hiroshi. "Pictorial 2 : Restoration Works of Angkor Complex in Cambodia Designated as World Heritage." Journal of Geography (Chigaku Zasshi) 113, no. 4 (2004): Plate6. http://dx.doi.org/10.5026/jgeography.113.4_plate6.
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Okpoko, Chinwe, and Mpho Chaka. "Exploratory view of the synergy between photojournalism and fine-art photography." IKENGA International Journal of Institute of African Studies 23, no. 2 (June 30, 2022): 1–23. http://dx.doi.org/10.53836/ijia/2022/23/2/003.
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Photojournalism uses images to tell stories and report events, while fine-art photography aims to express creative ideas and messages also through images. Although both fields express socio-political and religious ideas and reflect the past through pictures, they differ in approach. Photojournalism portrays events as they are using pictorial representations, without imputing the opinion of the journalist; fine art projects such events also pictorially, but from the vision of the artist. Thus both photojournalism and fine-art photography use photographs as a medium of expression. However, while photojournalism fosters a deep appreciation of works of art by projecting artistic images via communication media, which ultimately informs the psyche of the audience, fine-art photography expresses the emotions and viewpoints of the artist through photographs. This study, therefore, uses documentary evidence to determine the interface between photojournalism and fine-art photography.
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Hrechyshkina, Iryna. "ACQUAINTANCE OF PRESCHOOL CHILDREN WITH WORKS OF PAINTING." Scientific Journal of Polonia University 56, no. 1 (June 1, 2023): 58–62. http://dx.doi.org/10.23856/5609.
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The article is devoted to the problem of familiarization of preschool children with works of art. It has been established that works of fine art directly influence the formation of the system of values and meanings in preschool children. Modern and previous studies of the aesthetic development of preschoolers are analyzed. The article compares and reveals the concept of aesthetic education and the peculiarities of education. It was found that the problem of aesthetic education in pedagogy has always been given a lot of attention. In terms of pedagogical leadership, pictorial activity becomes invaluable for the versatile development of the child, his mental and cognitive processes: perception, performance and creativity, which are inseparable unity and are integral parts of the productive artistic and creative activity of preschool children. For a full artistic and aesthetic development personality in the period of preschool childhood, it is necessary to create optimal conditions, emotional comfort and fill the child's life with interesting activity content.
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Чаус, Д. В. "ДУХОВНІСТЬ У ТВОРАХ КИТАЙСЬКИХ ХУДОЖНИКІВ." Spiritual-intellectual upbringing and teaching of youth in the 21st century, no. 4 (2022): 608–11. http://dx.doi.org/10.34142//2708-4809.siuty.2022.152.
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The article analyzes the influence of the works of Chinese artists on the development of spirituality and ethics of the audience. The author focuses attention on the potential possibilities of the following pictorial genres: historical, mythological, landscape. The use of synthetic genres — poster and comic for the development of morality and spirituality of young people is considered.
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Kirichenko, Alexander. "Virgil's Augustan Temples: Image and Intertext in theAeneid." Journal of Roman Studies 103 (May 20, 2013): 65–87. http://dx.doi.org/10.1017/s0075435813000075.
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AbstractThis article discusses the most memorable works of art described in Virgil'sAeneid(the paintings at the temple in Carthage, the doors of the temple in Cumae, the shield of Aeneas, and the baldric of Pallas) as visual models for the poem's organization of its own intertextual memory. The multi-dimensionality of memory enacted in the viewing of these pictorial programmes emerges as a metaphorical visualization of the semantic density created by the overlapping intertexts within the narrative itself and, what is more, urges the reader to perceive works of Augustan monumental art as embodiments of a similarly complex universe of memory.
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Rigante, Elena C. L., Cosima D. Calvano, Luigia Sabbatini, and Tommaso R. I. Cataldi. "Historical proteinaceous-based pictorial binders’ analysis: a novel proteomic minimally invasive approach." Journal of Physics: Conference Series 2204, no. 1 (April 1, 2022): 012084. http://dx.doi.org/10.1088/1742-6596/2204/1/012084.
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Abstract Operating micro-invasive sampling when dealing with the chemical investigation of precious historical works of art is, without doubts, mandatory. Recently, scientific research in the field of Cultural Heritage has been often devoted to the development of innovative strategies for quasi non-invasive sampling on works of art to extract, for example, proteins and/or lipids composing the pictorial binders gaining extensive awareness about the materials employed by the artist. In this work, we propose a novel minimally invasive method for the sampling and characterization of protein-based painting binders. We apply a hydrophilic gel, previously functionalized with trypsin and chymotrypsin, on the artwork surface to perform an in-situ digestion of proteinaceous binders. Peptides are identified by means of a proteomic bottom-up approach combined with a high resolution/accuracy mass spectrometry technique. A wooden polychrome statue belonging to the XV century was chosen as a sample to assess the proposed protocol on a historical painting layer, as illustrated herein.
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Tahara, Hiroki. "Pictorial research of pancreas with artificial intelligence and simulacra in the works of Fellini." Artificial Intelligence in Medical Imaging 2, no. 6 (December 28, 2021): 115–17. http://dx.doi.org/10.35711/aimi.v2.i6.115.
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Beskrovnaya, Tat’yana V., and Marina V. Shakurova. "Transformation of the family image as a subject of upbringing in Soviet oral and pictorial culture (1917-1991)." Vestnik of Kostroma State University. Series: Pedagogy. Psychology. Sociokinetics 29, no. 2 (September 29, 2023): 18–25. http://dx.doi.org/10.34216/2073-1426-2023-29-2-18-25.
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The article actualizes development concepts of the family image as a subject of upbringing in Soviet oral and pictorial culture. The purpose of this article is to trace the transformation of Soviet family image in specific historical conditions and to present the correlation between the domination of the maternal or paternal image and the educational effect of family in general - via analysis of works of Soviet art in 1917-1991. Research design: The author uses to trace transformation of the family image as a subject of upbringing in Soviet oral and pictorial culture such methods as literature analysis, synthesis, association method, comparative historical analysis. The conclusion dwells upon the idealization and even hypertrophy of the family image presented in Soviet oral and pictorial culture - which is premised on the necessity of the family image to be aligned with main ideological guidelines consistent for the particular history period. Nevertheless, the main distinctive feature of Soviet family is its educational impact, traditionalism, stability, aspiration for bright new future. Distinctness of the image of Soviet family, existing in the realm of ideological principles, is defined in Soviet oral and pictorial culture. Art, while forming in Soviet mass consciousness the family image specified by ideology, could come through the strict censorship and reveal the real family life. It is art that makes it possible to see and appraise in objective way the educational role of Soviet family in communist society.
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Sharopova, Nigina R. "Geometry of the unspeakable: experience of one construction." Philosophy Journal 16, no. 4 (2023): 158–79. http://dx.doi.org/10.21146/2072-0726-2023-16-4-158-179.
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Picture geometry is often regarded as an area of technical knowledge that accompanies or provides useful information for basic research on visual culture and almost never as a methodological one. Despite the historical and conceptual connections between mathematics and the visual, even a basic geometric competence is by no means a common of image and visual culture researchers. At the same time, the overwhelming majority of this kind of work belong to the field of technical knowledge, the history of mathematics, or positivism based theories; in other words, they do not address the most important issues for humanities research. Rare non-technical works in this area do not find due recognition and dissemination among a wider community of specialists. The article offers the main result of the research, the subject of which was pictorial depth. Pictorial depth is the version of the specific experience of distance with which the image is traditionally associated. The problem of distance is a classical area of philosophical reflection on the image. The article presents an attempt to geometrically express one of its versions, namely pictorial and visual depth. At the same time, the important dimension of inaccessibility and heterogeneity is preserved, that is, the experience of depth is not reduced to visual data or the literal geometry of a flat picture. By constructing a geometrically object that can be considered depth, it is possible to extract intuitively non-obvious properties that would not be available through direct analysis of experience and other methods of naked reflection. The article presents only some of the findings obtained during the study.
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Gavrilov, D., R. Gr Maev, and D. P. Almond. "A review of imaging methods in analysis of works of art: Thermographic imaging method in art analysis." Canadian Journal of Physics 92, no. 4 (April 2014): 341–64. http://dx.doi.org/10.1139/cjp-2013-0128.
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This article discusses a number of modern techniques used for the analysis of works of art. The most widely used approaches as well as lesser known ones are outlined in terms of their applications and the kind of information on the condition of artworks that can be extracted. Special attention is paid to the method of thermographic analysis of works of pictorial art. The principles of the technique, various computational approaches, and safety concerns are discussed. A set of examples is provided for the demonstration of the capabilities of thermographic assessment, including a range of real canvas and panel paintings exhibited in museums and in private collections.
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Gorbunova, Anastasiya A., and Rimma A. Timofeeva. "COSTUMED IMAGES À LA TURQUE IN RUSSIAN PAINTING OF THE 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies 1, no. 1 (2022): 116–42. http://dx.doi.org/10.28995/2073-6401-2022-1-116-142.
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The article considers a number of picturesque costumed images à la turque, which means in the oriental taste, created in Russia in the 18th century. The studied works are divided into the costumed and typical images of the inhabitants of the Muslim world and a costumed portrait à la turque. It is believed that the means of creating an “oriental” image in those works was a costumizing – dressing a model in an exotic outfit perceived as a national costume of the peoples from the Muslim Orient. The work studies the history of creating costumed images à la turque in Russian art of the 18th century. It also deals with the composition and specificity of exotic costumes, the artistic-stylistic and genre features of the works under study and, when possible, identifies their pictorial sources.
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Rodrigues de Carvalho, Acácio, and Selma Eduarda Pereira. "Pixel 2 Installation." International Journal of Creative Interfaces and Computer Graphics 8, no. 2 (July 2017): 23–30. http://dx.doi.org/10.4018/ijcicg.2017070103.
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This chapter describes how the Pixel 2 is an installation based on the matrix forms and the small quadrangular shapes that compose them. These forms are the source of the digital image (bitmap) that bring us simultaneously to the pictorial works of Impressionism to Neo-plasticism. The compositions of the panels arise from the pictorial game dynamics with pixels as if they were a binary system. The graphical representation of pixels in Pixel2, the optical and illusion inherent game, are a fundamental part of this rematerialized media-art installation. The materialization of common digital elements such as small pixels allows a renewed vision, which raises digital interactions to a more spontaneous, intuitive immersion in the work and its materiality. The installation also invites the viewer to interact, in order to extend and expand the perception and experimentation of the different components of the work.
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Agratina, Elena E. "Jean-Honoré Fragonard: The New in the Notions of “Sketchiness” and “Completeness”." Observatory of Culture 18, no. 2 (May 31, 2021): 174–85. http://dx.doi.org/10.25281/2072-3156-2021-18-2-174-185.
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The second half of the 18th century was a time of active changes in the perception of art, rethinking many concepts and phenomena. One of them was the pictorial sketch, which transformed from a preparatory stadium work into an independent, complete piece of art. Many art theorists and critics, as well as painters themselves had contributed to this rethinking. Many young artists, bored of historical painting and indifferent to all the academic principles, were searching for new media of expressiveness, using the sketch-like pictorial manner to give their works a new dynamism and an impression of “easy production”. The article is dedicated to J.-H. Fragonard (1732—1806), an artist in whose works the “sketchiness” became a conscious artistic method used in small-format pieces, in large-scale canvases, and even in panels. The use of such a technique in grand scale works is considered to be an extreme unconventionality, which, however, was not appreciated by Fragonard’s contemporaries and even by scholars of the next two centuries. Fragonard’s series of ‘Fantasy Portraits’ attracted enough investigators’ attention, but his series ‘Progress of Love’ has only recently begun to be recognized by researchers as an unusual and bold for that time artistic experience. Based on the analysis of the artist’s selected works, the author builds her original research, designed to highlight Fragonard’s special role in the evolution of art on the way from the Modern Period to Contemporary History. The relevance of the present article is caused by too little examination of this topic: minimal in Russia and relatively small in France. Besides consultation with research literature, this required the author to constantly directly refer to the 18th-century sources, such as treatises by art connoisseurs and scholars, art criticism, and catalogues of exhibitions arranged by the Royal Academy of Painting and Sculpture or the Académie de Saint-Luc.
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TIELIEZHKINA, Olesia, and Olena KIRYANOVA. "ARTISTIC AND EXPRESSIVE MEANS IN THE LANGUAGE AND POETIC PALETTE OF THE AHATANHEL KRYMSKY: TYPOLOGY AND FUNCTIONS." Culture of the Word, no. 95 (2021): 174–83. http://dx.doi.org/10.37919/0201-419x-2021.95.14.
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In the offered article it is noted that one of the most important problems of the Ukrainian linguistic stylistics – revealing of features of realization of language units in works of art, in particular and in poetic. A. Krymskyi’s poetry is full of stylistic figures that express the artist’s opinion embodied in verse. These stylistic devices provided a background sound image that brightened the depicted pictures of nature or images from the life of society, portrait descriptions or inner experiences of the lyrical hero. Stylistic and syntactic expanses of A. Krymskyi’s poetry are distinguished by sophistication and diversity. The author resorts to homeothelium, gradation, polysyndeton, parallelism, anaphora, epistrophe. The article considers the stylistic figures realized in the poetic works of Ahatanhel Krymskyi. The expediency of the analysis confirms that the linguistic and poetic practice of this artist has been overlooked by researchers so far. The author of the article concludes that in the structural-compositional and semantic organization of poetic works of the important role is played by means of sound recording (assonance, alliteration, equiphony, metaphony, onomatopoeia), lexical and grammatical techniques units of linguistic and artistic expression (parallelism, anaphora, homeoteleut, gradation, polysyndeton, inversion, chiasm). The characterized pictorial and expressive means rhythmize the poetic system, shade the hidden meanings, harmonize the content of the work in accordance with the author’s intentions. From the above it is concluded that in the structural-compositional and semantic organization of the poetic works of Ahatanhel Krymskyi play an important role stylistic figures, which are based on different levels of language units. Selected and described pictorial and expressive means rhythmize the poetic system, shade the hidden meanings, harmonize the content of the work in accordance with the author’s intentions.
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Aleksandrova, Marina. "Water as a Conceptual and Figurative Material in Contemporary Visual Arts." Visual Studies 6, no. 1 (June 29, 2022): 62–67. http://dx.doi.org/10.54664/tccm8068.
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Water is an essential natural element, a diverse form with a social character, semantically upgraded in historical and cultural aspects. Its aggregate states are part of its semiotic and abstract construction, reflecting on the artwork of authors in the field of contemporary visual arts. The research is aimed at considering and discussing various works, the realization of which is related to different states of water as a pictorial and conceptually related material.
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Newman, Barbara. "Commentary on the Johannine Prologue." Theology Today 60, no. 1 (April 2003): 16–33. http://dx.doi.org/10.1177/004057360306000103.
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This article is a translation of Hildegard's commentary on the Johannine prologue, taken from her Book of Divine Works, with an introduction emphasizing the themes of the divine image and the holiness of the human body as an analogue of both the cosmos and the creative power of God. The note introducing the translation comments on Hildegard's prophetic, pictorial style and explains why her highly gendered thought cannot be rendered in contemporary gender-neutral language.
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Schmitz-Emans, Monika. "Das imaginäre Museum als literarischer Bilderkatalog.: Dieter Wellershoff und Michel Butor in den Spuren von André Malraux." Zeitschrift für Germanistik 32, no. 1 (January 1, 2022): 155–72. http://dx.doi.org/10.3726/92171_155.
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Dieter Wellershoff und Michel Butor knüpfen mit rezenten Buchpublikationen an André Malraux’ Konzept des imaginären Museums an. Ihre Bücher sind illustrierte Kataloge von Werken der abendländischen Malereigeschichte, zugleich aber Vermittlungsformen der Poetiken beider Autoren. Indem der Bilderkatalog zum poetologischen Manifest wird, tritt die Prägung von Katalogen durch logoi programmatisch in den Vordergrund; der Bilderkatalog demonstriert sowohl die enge Durchdringung der Bilderwelten mit Wörtern als auch die Effizienz katalogartiger Werke als Medien verbaler Sinnvermittlung, Argumentation und dichterischer Selbstexplikation. In recent book publications, Dieter Wellershoff and Michel Butor take up André Malraux’s concept of the imaginary museum. While being illustrated catalogues of works from the history of Western painting, they are also forms of conveying the poetics of the two authors. By turning the picture catalogue into a meta-poetic manifesto, the imprint of logoi on catalogues comes programmatically to the fore; the picture catalogue demonstrates both the close interpenetration of the pictorial worlds with words and the efficiency of catalogue-like works as media of verbal mediation of meaning, argumentation, and poetic self-explication.