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Articles de revues sur le sujet "Rome – Pictorial works"
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La Nasa, Jacopo, Patrizia Moretti, Eleonora Maniccia, Silvia Pizzimenti, Maria Perla Colombini, Costanza Miliani, Francesca Modugno, Paola Carnazza et Daphne De Luca. « Discovering Giuseppe Capogrossi : Study of the Painting Materials in Three Works of Art Stored at Galleria Nazionale (Rome) ». Heritage 3, no 3 (21 août 2020) : 965–84. http://dx.doi.org/10.3390/heritage3030052.
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We present the results of a diagnostic campaign on three of Giuseppe Capogrossi’s abstract paintings from the 1950s and 1960s, conserved at the National Gallery of Modern and Contemporary Art in Rome. Non-invasive investigations by reflection FT-IR spectroscopy were carried out, followed by micro-destructive laboratory analyses using Py-GC-MS, and HPLC-ESI-Q-ToF. The investigations focused on identifying the binders used for both the preparation and the pictorial layers. In two of the paintings investigated, an industrial preparation was identified based on egg yolk, mixed with other organic materials (acryl resin, oil, animal glue). The paint media include the use of both oil and alkyd paint. In one of the three paintings, the presence of a styrene-acryl resin was observed. The results show the simultaneous use of traditional and innovative materials, confirming the complexity of the period in which the artist was active, characterized by the technical experimentation of both the artists and manufacturers. The research also contributes to a better understanding of Giuseppe Capogrossi’s artistic profile, from the point of view of executive techniques.
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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 (octobre 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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Angelucci, Davide. « Nuove indagini sulle pitture rupestri dell’eremo di Selvascura presso il Santuario del Crocifisso a Bassiano ». Fenestella. Dentro l'arte medievale / Inside Medieval Art 3 (30 décembre 2022) : 45–87. http://dx.doi.org/10.54103/fenestella/18645.
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This article aims to re-examine the frescoes in the Selvascura hermitage in Bassiano, one of the medieval pictorial contexts created in caves in Lower Lazio, both from an iconographic and stylistic point of view. In the past, the paintings aroused some attention from local connoisseurs, but they collected a barely timid interest in critical publications. The carried out research revealed the existence of a link between the iconographic choices made in the cave paintings and the Greek theological literature, especially the Heavenly Ladder of St. John Climacus, known by the Franciscan Spirituals thanks to the translations by Angelo Clareno. Therefore, it is possible to suggest a new iconological interpretation of the frescoes on the right side of the cave and to overcome the traditional approach that considered the decoration of this hermitage as a mere juxtaposition of votive panels. Furthermore, an unpublished painting inspired by one of the apologues told by Barlaam to the Indian prince Josaphat has been identified and it can be added to the small list of monumental works with this theme related to the Italian Middle Age. This paper explains also all the documents from the current archives of the Soprintendenza concerning these frescoes and their preservative history from the 70s to the 90s of the XX century. Finally, an accurate analysis of the stylistic features and the comparison with other pictorial and mosaic works from Rome and the rest of Lazio allow to date back the paintings to the period between the end of the 13th and the beginning of the 14th century and to recognize the style of unknown artists trained in the school of Cavallini, very close to the Magister Conxolus’s lesson.
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Shui, Guohao, Qinxia Wang et Zichang Zhao. « Rebelling or Reconstruction : A New Understanding of the Classical by the Romantic Painters with Exploration Centered on Francisco Goya ». Journal of Education, Humanities and Social Sciences 1 (6 juillet 2022) : 295–301. http://dx.doi.org/10.54097/ehss.v1i.674.
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The classic, originating in the intellectual development of Greek and Rome, has consistently been an essential subject of the Western culture, occupying an important role as well in Germanic law and Christian religion with its highlight on the spirit of reason, logic and humanity even in the Middles. With the discovery of Greece and Roman antiquity in Italian in the Renaissance, the classical mythologies and the masterpieces by Aristotle and Plato were once again emphasized, and interpreted from a different perspective. Hundreds of years later, the Enlightenment thinkers and neo-classical artists extracted the spirit of reason and morality from the classic. The neo-classical artists criticized the frivolous Rococo, choosing serious subjects aiming to elevate the morality of human, focusing on the integrity of the painting, strengthening sketch than color, and in this way restoring and revoking the Greco-Roman classical spirit. Yet the turmoil of the French Revolution and the Napoleonic war for decades doubts the limitation of the reason, revealing the madness of discipline and organization, displaying the mechanized and the alienated will of human-being. Delacroix and Goya, the representatives of romanticism artists, have been considered the rebels of neo-classic and the academy and the pioneers of modernity. Their works show the might of passion and emotion, depicting the fear, numbness, and indifference of human-being facing death, contrasting with the dignity and the firm attitude expressed by the neo-classical figures. This modernity roots in a certain historical context of the classic. Through pictorial analysis and the study of Delacroix's diaries and historical materials in contrast to the Baroque and Neo-classical artists to show Goya and Delacroix spontaneously invoke and reconstruct the spirit of ancient Greco-Roman art.
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ZAITSEVA, Veronika, Alla BUIHASHEVA et Nataliya PROKHOROVA. « ENCAUSTIC AS AN ANCIENT PAINTING TECHNIQUE : A FAILING TRADITION ». ART Space 1, no 4 (2024) : 36–54. http://dx.doi.org/10.28925/2519-4135.2024.43.
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The article highlights the peculiarities of the encaustic painting technique and the main problems of preserving this unique technique in the modern art of Ukraine. The meaning of the concept of “encaustic” is revealed. Considerable attention is paid to the technological varieties of encaustic as an ancient pictorial art. Thus, ancient authors wrote about the expressiveness and beauty of the encaustic technique, but, at the same time, “wax painting of the ancients” turned out to be one of the mysterious techniques. First of all, this is due to the fact that very few encaustic works have survived, and the description of technologies was almost absent. Thus, after studying the “Fayum portraits” found in 1887 in Middle Egypt (the Fayum oasis), it was possible to determine that the funerary masks were made in the encaustic technique. Mentions of encaustic works date back to the ancient literature of the times of imperial Rome. During the Renaissance, even Leonardo da Vinci tried to unravel the mystery of encaustic painting, but even he had very little information about this technology. According to the descriptions, it was necessary to solve a complex technological process, so the masters collected information piece by piece and experimentally implemented this technique. These were the first stages of the revival of encaustic painting, which is also called wax painting, because the basis of encaustic paints was wax. The stability of this painting technique was ensured, in particular, by the presence of various resins, linseed oil and dyes of natural origin in the composition of encaustic paints. These paints were applied layer by layer on special soils under high temperature. The exceptional artistic value of the encaustic technique made it possible to preserve it and gave the prospect of revival thanks to the creative searches of artists of the 1970-1995 years of the 20th century. Painting with wax paints meets all the requirements of modern monumental art along with frescoes and mosaics. Modern construction technologies and materials provide ample opportunities for monumental artists to solve various artistic and plastic tasks related to the application of the encaustic technique. The article also considers the role of encaustic in modern easel and monumental art. The work of modern masters of Ukraine who worked in the encaustic technique is analyzed.
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Кузнецова, І. О., О. В. Лільчицький et М. О. Привалов. « Специфіка відображення теми спорту в творах античного мистецтва ». Art and Design, no 4 (15 février 2021) : 136–48. http://dx.doi.org/10.30857/2617-0272.2020.4.11.
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Aim of work is to identify sport reflection features in ancient art. The paper uses methods of systematization and updating of analytical information about the peculiarities of the reflection of elements related to sports in the styles of the ancient world. The accumulation, systematization and implementation of information is carried out by studying the specialized professional literature and sites depicting the reflection of elements related to sports in ancient art. The main reflections of sports life in ancient art are identified and characterized. There is a description of ancient art that reflects sporting events. A summary analysis of the elements related to sports in the objects of the ancient world. The most interesting in the context of modernity are the elements of joy in Cretan art, the emphasis on dynamism in the first period of Minoan art; didactic orientation of the image of sculptural and pictorial works of sports events. Special attention needs to be paid to objects that are the result of all-Hellenic holidays. The example of creation of art objects on an example of figurines, painting, a vase-painting, minting connected with acrobatic jumps through a bull is considered. The elements of active dynamics, up to the existence of sloping lines in vase-painting and paintings in certain periods, of passive dynamics in the "golden age of Pericles" are shown. Then the visual ideal of athletics was created. The generalization of the classical period does not correspond to the superdynamic modernity. The most interesting emotional facial expression in both sculpture and painting of the period of imperial Rome. Since the II century. B.C. the portrait of the athlete is more and more individualized. The study is based on the study of sport as historically formed in the form of special competitive activities and sports practice socio-cultural phenomenon that promotes the harmonious development of natural and social psychophysiological abilities of motor activity and moral and aesthetic qualities of man, which determines his sports activities. The paper shows the trends in the creation of sculptures, frescoes, reliefs, vase paintings in ancient art, which reflect the sport. Prospects for further research should be related to assessing the impact of various modern processes on the creation of art and design, based on clear characteristics of new materials, a deep understanding of existing and new technological processes, general global trends in society as a whole.
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Cavazzana, Alessandro, et Marianna Bolognesi. « Uncanny resemblance ». Cognitive Linguistic Studies 7, no 1 (19 août 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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Karpenko, Olga. « Reminiscences of Impressionism in the works of Ukrainian avant-garde artists ». Almanac "Culture and Contemporaneity", no 1 (31 août 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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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 (31 janvier 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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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.
Livres sur le sujet "Rome – Pictorial works"
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Roland, Benoît. Rome. [Paris] : Chêne, 2000.
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Walker, Kara Elizabeth, writer of supplementary textual content, dir. Rome - Malibu. Amsterdam : Roma Publications, 2016.
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Santini, Loretta. Rome and Vatican. Narni, Italia : Plurigraf, 1993.
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Benzi, Fabio. Palaces of Rome. London : Thames & Hudson, 1997.
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Censi, Maria Rita. RM 06 : Roma-architettura contemporanea = Rome-contemporary architecture. Roma] : Kappa, 2006.
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Worthington, Pepper. To Rome. Mount Olive, N.C : Mount Olive College Press, 2001.
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Russell, Ash, et Higton Bernard, dir. Rome. New York : Arcade Pub., 1991.
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Vescio, Portia. Rome. Portsmouth, NH : Arcadia, 2004.
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Davidson, Laura. Rome. Boston : [Laura Davidson], 2003.
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Sternfeld, Joel. Campagna romana : The countrysideof ancient Rome. New York : A.A. Knopf, 1992.
Trouver le texte intégralChapitres de livres sur le sujet "Rome – Pictorial works"
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Gameson, Richard. « Pictorial Narrative ». Dans The Role of Art in the Late Anglo-Saxon Church, 135–49. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198205418.003.0006.
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Abstract A seminal work published in the early 1960s focused attention on the twelfth century as a formative period in the development of pictorial narrative in England. The author, Otto Pacht raised the profile of narrative depiction {according to his definition) and offered numerous insights into the field as a whole, while in particular he explored and placed in perspective the work of the Master of the St Albans Psalter. This emphasis shed invaluable light on English manuscript art of the twelfth century and on the work of an outstanding individual. However, its side-effect was to minimize the importance of other modes of pictorial narrative and to divert attention from the role of pictorial narrative in earlier English art. Pächt was principally concerned with cycles rather than individual images; the themes on which he concentrated were the ways in which artists incorporated the element of time into their images and the influence of liturgical drama on art; and he was dismissive of alternative approaches and other issues. But the alternatives are equally deserving of attention. Some of the forms of narrative art essayed by late Anglo-Saxon artists were less sophisticated than those of the St Albans Psalter. They were essentially inherited rather than newly developed and they were not refined in response to contemporary liturgical drama, but they were nevertheless an important part of their visual language.
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Judovitz, Dalia. « The Visible and the Legible ». Dans Georges de La Tour and the Enigma of the Visible. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823277438.003.0004.
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This chapter is focused on recurrent representations of books and acts of reading as pictorial subject matter in La Tour’s works. Several scenes of reading are examined starting with St. Jerome reading a letter, the Virgin Mary learning how to read, St. Joseph’s falling asleep while reading, and St. Alexis identified after his death on basis of a letter he holds in his hands. It presents an analysis of the ways words determine how we see and the role of reading as a figure for spiritual illumination understood as a way of seeing that challenges the realm of painterly expression. La Tour’s appeal to the word and the legible casts doubt on knowledge attained through vision in its reliance on visual signs. Indeed, reading as a figure for spiritual illumination challenges and opens up a conceptual redefinition of the visual realm of painterly expression.
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Martini, Elisa. « ‘Dopo’ l’immagine. Aspetti della pittura di ricordi a Roma nel Seicento ». Dans Quaderni di Venezia Arti. Venice : Fondazione Università Ca’ Foscari, 2022. http://dx.doi.org/10.30687/978-88-6969-588-9/013.
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This paper deepens the pictorial genre of souvenirs during the 17th century. Through an account of the state of the art and some significant examples, the research aims at analysing a type of painting that has not been extensively investigated yet by scholars so far. After focusing on general issues concerning vocabulary, formal characteristics, and functions of souvenirs paintings – to clarify the difference between this type of artwork and oil sketches – the attention is turned to artists such as Andrea Sacchi, Pietro da Cortona, Carlo Maratti, Luca Giordano, and Filippo Lauri. Those painters were all authors of small-sized replicas reproducing entirely or a detail of a large-scale work, painted by the artist for himself or for some collector. This practice played a major role especially in Filippo Lauri’s career, so much so that his work provides a unique opportunity to pinpoint the history of this type of artwork. His souvenirs enjoyed a large appreciation, telling of the cultural dynamics of late-baroque Rome, relating to its burgeoning art market, and representing an early example of the culture of collecting, which eventually developed through the Grand Tour.
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« Woodlands and Marshes : Art and Nature ». Dans Jacob van Ruisdael’s Ecological Landscapes. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland : Amsterdam University Press, 2024. http://dx.doi.org/10.5117/9789048558919_ch05.
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“Woodlands and Woodland Marshes: Art and Nature” considers works which embody Ruisdael’s pictures of wildwood in various stages of growth and decay in or near marshland from the mid-1650s. This chapter explores the role of his innovative etching technique in developing a pictorial means to convey the vital forms of generative nature. The requisite ability to differentiate the structures, states, and textures of living things, referred to in the history of science as a probing gaze, is especially applicable to Ruisdael the etcher. The mediation of the artist, so explicit in the etchings, is also an important aspect of these paintings, in which the way water mirrors trees and sky exemplifies the relationship between the observation and construction of landscape.
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Sinha, Subir. « COVID-19 and the Mass Media ». Dans Handbook of Research on Representing Health and Medicine in Modern Media, 512–21. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-6825-5.ch031.
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COVID-19 is the cause of the greatest pandemic of the century that affects almost every nation of our globe. In India, mass media has played a significant role in this pandemic situation. The media coverage revealed fearlessly the condition of COVID-19 and provides a pictorial view of the situation in front of the readers and viewers. The main objectives of these fearless journalistic works were to provide the public valuable authentic information, create awareness among the public, eliminate fake propaganda and fake news, highlight the problem face by the ordinary public, and to provide the government a medium to speak with the public for the public interest. Mass media served as a vital weapon to fight against COVID-19. The valuable information and instructions provided by mass media created awareness among the public and which played a major role to deescalate the graphical representation of active COVID-19 cases. The outbreak of COVID-19 and the dogmatic approaches of the mass media in the pandemic situation have recalled the concept of media as the third pillar of democracy.
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Bertolino, Giorgina. « Come deve essere una sala di esposizione ? » Dans Storie dell’arte contemporanea. Venice : Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-199-7/006.
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After World War I, from 1918 to 1920, Felice Casorati actively partecipated to Ca’ Pesaro exhibitions and we can therefore identify his new pictorial production in the frame of relationships between Venetian and Turinese environment. Ca’ Pesaro plays an essential role in this phase of his career, offering themes and models that can be traced back to the strategies that inspire his cultural action upon his arrival in Turin. Starting from a premise on his paintings and exhibitions of 1914-16, this contribution compares two cities, their structures and institutions; we can also better understand which works of art he assigns to different shows both in Turin and in Venice: at Ca’ Pesaro, at the Geri Boralevi Gallery, at the Circolo degli Artisti and at the Promotrice delle Belle Arti. The focus is on the exhibition intended as a social space and a milieu where artistic researches are made and discussed, on how Casorati setted up paintings in the rooms and in which sequence, on those different occasions.
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Sinenko, Oksana. « THE TOPIC OF WAR IN WESTERN EUROPEAN MUSIC ART OF THE XX–XXI CENTURIES ». Dans Modernization of research area : national prospects and European practices. Publishing House “Baltija Publishing”, 2022. http://dx.doi.org/10.30525/978-9934-26-221-0-28.
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Wars are destructive events that, despite their destructive nature, occur with a certain frequency in the history of human existence. The course of wars, their nature and causes are different, but the impact of military events on human consciousness is inevitable. The problem of the destructive nature of war, its ability to integrate and differentiate human communities often received not only scientific coverage, but also became the subject of works of art. Art is a sphere of human life that flexibly responds to all events that occur in the socio-cultural space. There are many literary, pictorial, theatrical, cinematic works that reflect military events. Examples of military coverage can be found in the musical art of the XX–XXI century. Works related to the theme of war and peace, the balance between these phenomena, are available in both foreign and Ukrainian music culture. The purpose of the paper is to highlight the specifics of musical works on military themes and to determine the dominant features that are inherent in them. This task is urgent, given the significant transformation of modern life of the Ukrainian people and the need to define the role of musical art in society. Highlighting the features of musical works will determine their role in the context of culture. Methodology of the study is based on general research methods of analysis and synthesis, induction and deduction, observation and abstraction, which are used to systematize achievements in the study of military topics in the art of music. The logic of the study involves determining the range of works on the theme of war, highlighting their essential features, conducting a comparative analysis of works written by Western European artists and outlining further prospects for work in this direction. Results. Composers, turning in their works to military themes, often seek to make their compositions understandable to the public. After all, their works acquire the role of a kind of artistic manifestos, the result of their own subjective experiences of military events, or to reflect on them as observers. Trying to make them as accessible as possible to the audience helps to choose the principle of programmability when it comes to instrumental opuses. Composers give their works bright names that allow drawing an analogy with military events, adding poetic epigraphs and more. If composers turn to vocal and instrumental works, they choose those verbal texts that reproduce the desired artistic and figurative content. Most often, artists choose genres such as requiem, crying, oratorio. Composer’s reflection often includes reliance on texts of the Ordinary, Catholic Mass, etc., which are stable carriers of meaning, have their own symbolic value and are understandable due to their circulation in music culture to the general public. Practical implications. The study of works related to military themes provides an opportunity to understand the power of art, as well as to determine its role in society. The works of Western European composers of the XX century M. Ravel, C. Debussy became a reaction to the events of the First World War. The works of A. Schoenberg, A. Onegger, B. Britten, and K. Penderetsky were initiated at the beginning of the Second World War. Nowadays, the 21st century is a time of wars, which are a powerful emotional shock for people in general and composers in particular, who are trying to capture this traumatic experience in an artistic form. However, they see their mission not only in recreating events in an artistic form, but also in creating a kind of warning for posterity about the inability to move through wars that bring only pain and suffering, causing the death of human beings. Value/originality. Composers’ artistic manifestos are a direct reaction to the changing world, shocks that confuse people, even if they were not directly involved. A promising area for further research is to highlight the specifics of works by Ukrainian composers related to military issues.
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Demin, Anatoly S. « From Research on the Literary Hermeneutics ». Dans Hermeneutics of Old Russian Literature : Issue 20, 9–84. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/horl.1607-6192-2021-20-9-84.
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The research consists of the series of articles analyzing the pre- viously unexplored expressiveness, figurativeness, fantasy and sarcasticity of a number of Old Russian works. The first article reveals the expressiveness of the “Turkic” utterances of Afanasy Nikitin in The Journey Beyond Three Seas according to the list of the Russian State Archive of Ancient Acts (RSAAA), f. 181, no. 371 of the first quarter of the 16th century. The second article characterizes the distorted, fantastic earthly worlds depicted in the Tale of the Twelve Dreams of King Shahaisha according to the list of the Russian National Library (RNL), Kir.-Beloz., no. 22/1099 of the 1470s; in the Conversation of Three Saints according to the list of the Russian State Library (RSL), Troitsk., no. 778 of the beginning of the 16th century; in the collection of proverbs and sayings according to the list of the RSAAA, Ministry of Foreign Affairs, Moscow Main Archive (MMA), no. 250–455 of the late 17th century; in The Tale of Ersh Ershovich according to the list of Pushkin House, 1.27.105 of the late 17th — early 18th centuries; in the Bird Council according to the list of the RNL, 0.XVII.17 the mid-18th century; in the Medicine Book. How to Treat Foreigners according to the list of the RNL, Q.XVII.96, Peter’s time; in the Legend of a Luxurious Life and Fun according to the list of the RNL, 0.XVII.57 of the first quarter of the 18th cen- tury. The third article examines the aesthetic role of verses in the collections of the late 17th century: RSL, Tikhonravov, no. 233, 249, 380, 411, 499. The fourth article shows that some compilers of collections of the 17th century appreciated the visual arts of works, mostly very old (оn the example of collections of the RSL, Tikhonravov, no. 460, 384, 18, 340, 231). In two Appendices to the article are published the descriptions of the composition of the collection no. 231 and the text of the parable about the dispute of parts of the human body. In two Ap- pendices to the article, it is said about the everyday depiction of the collection of proverbs and sayings according to the list of the RSAAA, MMA, no. 250–455 of the late 17th century and on the expressiveness of articles in the miniature collection of the RSL, Bolshakov, no. 325. The fifth article points to the mocking meaning of proverbs and sayings about criminals in the same collection of the RSAAA, MMA, no. 250–455. Finally, the sixth article draws attention to the evolution of the literary work of Archpriest Avvakum from brief mentions of events to detailed stories about them (оn the material of Vita, petitions, Book of Interpretations, Book of Accusations, Write-off about the creation of man, The Lamentable Word about the death of noblewoman F. Morozova). We must warn you that the pictorial and expressive meaning of the examples and phrases quot- ed from the texts of the monuments is not thoroughly proved in this work, but is only stated. Otherwise, each example would require an independent essay on certain literary means, and the theme and composition of the work would be completely different.
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Kinder, Karyna. « THE ART OF DANCING OF VOLYN : THE DYNAMICS OF TRADITIONS AND INNOVATIONS ». Dans Science, technology, and innovation : the experience of European countries and prospects for Ukraine. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-190-9-13.
Texte intégralRésumé :
In the complex and contradictory process of social and ethnonational progress of Ukraine, the study of the original creative potentials of the nation becomes especially important not only in the historical and theoretical, but also in the regional aspect. In the domestic research area, we can see the appearance of studies aiming to form a special field of research – the regionics, which is designed to reveal the uniqueness and originality of the cultural environment within a particular local unit. The diverse palette of movements, gestures and poses has a strong ethnic color, reflecting national characteristics, psychological stereotypes, specific regional and local features, various perspectives of rhythmical thinking of people living in the domestic territory. The system of pictorial means is traditional and publicly available to the ethnic community as a certain sign system within the national or regional tradition. Problems and tasks of the article lie in the field of art studies, which develop issues of folk dance, the relationship between general and ethnospecific, traditional and new. In this context, the idea of relying on the historical traditions of Ukrainian spirituality as a source of self-preservation and burst for new development is increasingly put forward. All this determines the objective need for scientific analysis of authentic dance samples, which have been the bearers of certain ideas and concepts for many centuries and reflect the main features of ethnic mentality, rhythmical thinking, and «spiritual flair» of the people. On the basis of literary sources involving developments in ethnochoreology, artistic features of Volyn folk dance, its ethno-national specifics, which are manifested in both choreographic folklore and professional art, are analyzed and characterized. The aim of the work is to investigate the trends in the development of choreographic culture of Volyn and the problem of the relationship between traditions and innovations, which directly affects the creative process of the interpretation of authentic sources. The research methodology is based on the principles of an integrated approach and the application of analytical, historical, cultural and comparative-typological methods. The scientific novelty of the development is that a comprehensive art study of the original dance art of Volyn has been conducted, and its place and role in the modern spiritual and socio-cultural space has been determined. Given the dynamics of cultural and historical processes of today, it has been concluded that the choreographic art of the Volyn region continues to develop in the context of the all-Ukrainian tradition and is a part of it. The study made it possible to identify such a distinctive trend as the appeal to the original folk art and the development of newborn forms of dance on this basis. In the choreographic culture of Volyn, the abovedescribed trend reveals a complex dialectic of the interaction of tradition and innovation, with the predominance of the traditional component.
Actes de conférences sur le sujet "Rome – Pictorial works"
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Ceriachi, Melissa. « RECOVERY OF A SEVERELY DETERIORATED PAINTING : THE MARTYRDOM OF SAINT SEBASTIAN BY GIOVANNI SANTI (15TH CENTURY). INTEGRATIVE PROPOSAL ». Dans RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València : Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13492.
Texte intégralRésumé :
This contribution examines a painting on wood: The Martyrdom of Saint Sebastian, by Giovanni Santi. This work of art is the altarpiece of the chapel dedicated to the saint, located in Urbino's Church of San Bartolomeo. The history of this work of art is inextricably linked to that of its conservation: initially, the artwork was difficult to read due to the serious state of deterioration of the paint layer, with a loss of significant portions of the painting, including pictorial parts that played a decisive role in the rendering of the image. This had significant implications when it came to choosing the methodology for the pictorial reintegration of the painting. The aim was to reduce the negative effects caused by the state of deterioration as much as possible, to improve the readability of the work. Following a conservative restoration of the panel and of the polychromy, and after submitting it to art historian officer for a careful and close evaluation, a differentiated pictorial reintegration of the work was planned, applying the Florentine “selezione cromatica" method for the main figure, Saint Sebastian, and for all lacuna treatments. This intervention was carried out using tempera colours, overlapping by hatching three pure colours, chosen from the primary and secondary colours. I continued the “selezione cromatica” on the integrations, using varnish colours until achieving the desired tone, maintaining a tone of brilliancy and chromatic vivacity similar to the painting by Santi. The other parts of the painting had been very seriously damaged due to irrecoverable losses and can no longer be reconstructed; these were treated by experimenting with the “chromatic abstraction” reintegration with tonal variations within the layers of abstraction. The method involves the application of a cross-hatching where no shape is reconstructed, in a four-colour scheme (yellow, red, green/blue, black), in tempera colours.
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Radcliffe, David F., et Tat Y. Lee. « Models of Visual Thinking by Novice Designers ». Dans ASME 1990 Design Technical Conferences. American Society of Mechanical Engineers, 1990. http://dx.doi.org/10.1115/detc1990-0120.
Texte intégralRésumé :
Abstract Visual thinking is the creative process by which spatial, numerical and descriptive information is integrated to realize a design idea. A series of experiments have been conducted in which the role of freehand sketching in the design work of novice engineering designers and industrial designers was examined. Three types of sketches, functional, geometric and pictorial, can be identified, each related to the stage of concept development. An adequate sketching technique is essential for the smooth flow of design ideas during the formative stages of a design. Based upon these experimental observations, a model of the process of visual thinking is proposed. In it, sketching forms an interface and potential barrier between the cognitive processes and the physical domain. This barrier can be biased towards either the cognitive or the physical domain, resulting in two different types of impediment to idea development.