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1
Ursachi, Rodica. "Nicolae Grigorescu – marele rapsod al plaiului românesc". Revistă de Ştiinţe Socio-Umane = Journal of Social and Human Sciences 42, n. 2 (aprile 2019): 56–61. http://dx.doi.org/10.46727/jshs.2019.v42.i2.p56-61.
Testo completoAbstract (sommario):
The article aims at the creation of the Romanian artist Nicolae Grigorescu, which through his work has made a considerable contribution to the national painting. His creation introduced in Romanian painting a new conception, vision and plastic language, the artist being considered as a pioneer of modern art. Nicolae Grigorescu, through his „peasant” painting, has highlighted the Romanian spirituality (man, nature, the joy of life), and highlighted the beauty of his native plateau.
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Datsiuk, Natalia. "TRADITION AND MODERNISM IN THE SACRED ART OF IGOR ZILINKO". Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, n. 2 (23 maggio 2023): 140–48. http://dx.doi.org/10.25128/2411-3271.19.2.19.
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The article explores the directions of contemporary Ukrainian sacral art in the work of the painter I. Zilinkо, his contribution to the development of sacred art of the temples of Ternopil region. The main directions of stylistic orientation in the formation of modern sacral art, the evolution of paintings from realistic tendencies of Ukrainian sacral painting of the seventeenth century to experiments with stylization of iconic figures in search of greater spirituality of the face, the introduction of our own modern iconography, based on tradition. The article explores the directions of contemporary Ukrainian sacral art in the work of the painter I. Zilinkо, his contribution to the development of sacred art of the temples of Ternopil region. Sacred art is the object of study of many scientists, historians, archivists, art historians, local historians, journalists. Among them, in particular, D. Stepovyk, M. Golubets, K. Moskalets, V. Sventsitska. However, the issue of the development of the modern sacred art of Ternopil region (1990–2018) requires additional study. The purpose of the article is to highlight the main directions in the work of Igor Zilinka, to specify the formation of the sacral and artistic environment of the churches of the city of Ternopil, to study the temples with modern interiors, to analyze the observance of traditions in icon painting and the search for modern aesthetic forms. After the revival of the Ukrainian Church, the construction of new temples began. The construction of churches led to the search for masters who could carry out their interior decoration. Famous Ternopil painter Igor Zilinko has become a “sacred” artist who has been successfully working in this field for many years. One of the first works of Igor Ivanovich was the decoration of the church of the Sacred Heart of Christ in the village of Veluky Gai, Ternopil district (1920). The murals of the church are classic paintings that date back to the works of the famous master of Ukrainian icon painting of the seventeenth century Ivan Rutkovych. It is the only church that reflects the realistic trends of Ukrainian sacral painting of the seventeenth century. Here the traditions of folk art are combined with creative bold search for new content and form. Next was the work on painting the temples in the villages of Petrykiv, Pronyatin, Kupchintsy, in the Ternopil region. On the initiative of Fr. Pavel Repely, the parish priest of the church of the village of Petrykiv, the painter was oriented to the heritage of Byzantine-Ukrainian icon painting. It is the first church in the Ternopil region that depicts the Eastern traditions of icon painting. Igor Zilіnko later managed to form his own style in the contemporary Ukrainian icon, following the Byzantine iconographic tradition. Particularly noteworthy is the iconostasis created by Igor Ivanovich for the Cathedral of the Archangel Michael in Ternopil in 2007. The artist very responsibly approached the choice of plots, taking as a basis the traditional composition of Ukrainian iconostases. The author has preserved the foundations of Ukrainian church traditions and has reflected the saints of the Ukrainian Church. An interesting development in the decoration of the spatial environment of the temple is the Church of St. Sophia of the Wisdom of God in Ternopil. For the decoration of the church, the parish priest Fr. dr. Vitaliy Kozak invited the already known master of sacral painting Igor Ivanovich Zilinko, who at that time developed his own iconographic style. The figures of the saints are exaggerated, unnatural in height, reflecting the idea of an invisible celestial world, without a realistic image. Creativity of Igor Zilinko is one of the most striking pages of contemporary Ukrainian art culture, evokes joyful aesthetic experiences, encourages contemporaries to creative pursuits to create monumental images that combine tradition with the actual spiritual needs of modern society.
3
Proppe, Rebecca. "Instruction Paintings". Re:Locations - Journal of the Asia-Pacific World 2, n. 1 (15 maggio 2019): 23–45. http://dx.doi.org/10.33137/relocations.v2i1.30801.
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In order to propose further research into non-Western avant-gardes and modernist narratives, this paper explores the contributions of Japanese-American artist Yoko Ono to our understanding of the narratives of modernism and contemporary art. Ono’s work is examined through her interactions with both Japanese and American avant-garde artists and philosophies, thus using Ono’s life and work as one potential case study in demonstrating the important dialog between East and West which manifested into several important avant-garde movements and artworks. My paper further seeks to complicate the traditional Western-centric narratives of art history by acknowledging intersectional readings of works and artists’ histories, by looking at Ono’s unique experience as a Japanese woman living in America, eventually marrying a pop singer whose fame would affect her public image for decades.
4
Martin, Daniel. "A warm and sympathetic thing: Voice and dysfluency in Robert Browning’s ‘Mr Sludge, “The Medium”’". Journal of Interdisciplinary Voice Studies 5, n. 2 (1 dicembre 2020): 163–78. http://dx.doi.org/10.1386/jivs_00023_1.
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This article takes a dysfluency studies approach to representations and expressions of voice and dysfluent speech in Robert Browning’s minor dramatic monologue ‘Mr Sludge, “The Medium”’ (1864). Browning’s speaker, an American spiritualist medium named Sludge, is vile and repugnant in his casuistry and sophistry as he defends his deceptions after being caught as a cheat during one of his séances. While Browning’s contemporaries recognized ‘Mr Sludge’ as a mockery of the real-life American medium Daniel Dunglass Home, the monologue relies on one central metaphor of the medium’s stuttering and stammering body that challenges broader Victorian assumptions about the relationship between speech, voice and elocutionary practices. Throughout this article, G.K. Chesterton’s claim that Browning’s critique of spiritualist practices is paradoxically a ‘warm and sympathetic thing’ becomes the keystone for understanding the monologue’s contributions to modern thought about the pleasures and vitality of dysfluent speech. Fundamentally, Browning’s exploration of the spiritualist’s deceptions and conjuring of the voices of the dead reflects broader medical analogies beginning in the 1840s that linked the causes of dysfluent speech to invasive and contagious voicings.
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Sriwinarti, Ni Ketut, e Ayudia Sokarina. "Interpreting right of accountability from the dimensions of obligation the Piodalan Fund". JAE (JURNAL AKUNTANSI DAN EKONOMI) 8, n. 1 (11 marzo 2023): 1–10. http://dx.doi.org/10.29407/jae.v8i1.19372.
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Piodalan is a traditional ceremony of Balinese Hindus. Piodalan is an immaterial religious activity, as a form of belief to Ida Sang Hyang Widhi as the owner of the universe. For the continuity of piodalan, a material value is needed in the form of funds obtained from the contributions of Balinese Hindu society in banjar. The management of these funds is carried out by one of the banjar administrators as treasurer. Accountability for the management of piodalan funds is very unique with cultural of the Hindu-Balinese, and it’s very interesting to study. This study aims to explore the meaning of accountability of piodalan funds for Hindu-Balinese who live in West Lombok. The tools used to analyze the data, the researcher uses a spiritualist interpretive paradigm and a spiritualist phenomenological. The results show the accountability of piodalan funds means the realization of the responsibility or obligation of Hindus to God for the worldly pleasures that given by Almighty which includes five dimensions, namely: clarity, openness, submission, lascarya (sincerity), and manah Kayun (piety).
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Cynkier, Maria Anna. "James Ensor". Groundings Undergraduate 10 (1 novembre 2017): 76–93. http://dx.doi.org/10.36399/groundingsug.10.189.
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The article aims to outline the motifs present in works of James Ensor, a Belgian artist, whose art relates to the Symbolist approach to painting. By iconographical analysis combined with the examination of social factors, this article will evaluate Ensor’s contribution to the Symbolist practice during the end of the 19th century. Neglected for a long time by the discipline of art history, his flamboyant visions depicting masks and skeletons are now thought to constitute important emblems allowing for the exploration of the fin-de-siècle soul, troubled by progress and uncertainty and manifested in anarchism, degeneracy as well as spiritualism. This article will argue that the choice of iconography was not solely determined by the artist’s inner life, but its foundation can be found in the dramatic social changes occurring in the late 19th century Belgium and Europe.
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Danalov, Ilker. "Esoteric Painting by Hilma af Klint". Visual Studies 6, n. 3 (13 dicembre 2022): 285–97. http://dx.doi.org/10.54664/aimf4981.
Testo completoAbstract (sommario):
A number of modernist art movements of the late 19th and early 20th centuries gradually reduced the mimetic approach, leading to the logical emergence of pure abstraction. There were several contenders for the ‘first abstractionist’, and the Russian artist Wassily Kandinsky (1866–1944) is most often identified as such by art historians. His watercolour (Untitled; Study for Composition VII), which dates back to 1911, is considered the first abstract work. In 1912, Kandinsky published a kind of personal manifesto called “Concerning the Spiritual in Art”, in which he theorized abstract art. Other key pioneers of this art form from the early 1910s were Piet Mondrian (1872–1944) and Kazimir Malevich (1879–1935). They also come up with their own theories about ‘non objective’ art. Although different in their vision, what those artists had in common was that all three of them worked in the idiom of abstraction and were more or less guided by the ideas of the spiritual. The latter is important because the main contender for ‘first abstractionist’ whom we consider here also eliminated the representation of objects from the visible world and followed various spiritual teachings that underlie her work. After 1986, in various sources, the Swedish artist Hilma af Klint (1862–1944) was indicated as a pioneer of abstract art who began to paint the series “Paintings for the Temple” in 1906 (five years before Kandinsky). They are large-format, non-figurative paintings that bear visual and formalistic similarities to abstract painting. From this perspective, the debate about who was the first abstractionist is inevitable. The reason why Hilma af Klint began to be talked about so late is that she painted in isolation and kept her non-figurative paintings a secret. In her will, she stipulated that the paintings not be shown for 20 years after her death. They were discovered in the 1960s and exhibited for the first time in public at the exhibition “The Spiritual in Art: Abstract Painting 1890– 1985” in 1986. By examining the life and work of Hilma af Klint and briefly reviewing the main ideas of abstract art, the current paper aims to answer the question of whether the works by Hilma af Klint were created in the context of abstractionism of modernism, or whether they fall into another category, such as spiritualist or esoteric art.
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Yoo, Suran. "The Patronage and Changing Roles of the Water-Land Paintings from Baoningsi: Focus on their endowment by Ming Emperors and repairs in the Qing Dynasty". Korean Journal of Art History 318 (30 giugno 2023): 161–92. http://dx.doi.org/10.31065/kjah.318.202306.006.
Testo completoAbstract (sommario):
The 136 Water-Land paintings from Baoningsi, now at the Shanxi Museum in Taiyuan, China, are a set of hanging scrolls of the Ming dynasty that have been preserved almost completely. In addition, three documents related to the paintings survive: two records on the repairs to the paintings made in the Jianshen Year of the Kangxi Emperor’s reign (1704) and the twentieth year of the Jiaqing Emperor’s reign (1815), and a list of patrons who contributed to the repair. Although previous studies only mention them as supplementary documents, they offer new insights in the understanding of the paintings.</br>The earliest record on the Baoningsi Water-Land paintings is about their bestowment by the emperor. As the Youyu area in Shanxi, where Baonignsi is located, was being threatened by the nomadic Mongol tribes and the chaos of the Crisis of Tumu at the time, the paintings were likely gifted to make a display of the Ming imperial power.</br>In 1704, the Eight Banners garrisons stationed in Youweicheng led the patronage for the paintings’ repair, with the local gentry and merchants also participating. In the eighteenth century, this was a way to bring people together and for local groups to demonstrate their power and exercise social influences. In the nineteenth century, the paintings’ social function changed once again. They were displayed every year on Buddha’s Birthday and was instrumental in bringing in financial contributions to the temple.</br>This study has focused on the changing roles of the Water-Land paintings. The records of their repairs enables the understanding of different functions a set of paintings can have according to political and social circumstances from Ming to late Qing.
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Marsh, Clive. "Rembrandt Reads the Gospels: Form, Context and Theological Responsibility in New Testament Interpretation". Scottish Journal of Theology 50, n. 4 (novembre 1997): 399–413. http://dx.doi.org/10.1017/s0036930600049735.
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Art is part of the history of the church, and relates to spirituality and to the practical expression of Christian faith. It illustrates theological loci and biblical themes. Often, the art which fulfils this function does so with the conscious intent of the artist; sometimes not. Attempts have been made, however, to argue that art not only illustrates theology, but also contributes to it. Even so, systematic theologians and biblical scholars — when they do talk to each other — still converse on the basis of largely word-centred approaches to their tasks. I am neither systematic theologian nor biblical scholar, precisely because I attempt to keep a foot in both camps. I am even less of an art critic. Yet it is clear that in the world of art there is a whole area of exploration yet to be ventured into not only historically (have we really sufficiently explored how biblical interpretation and doctrinal theology have been influenced by art?) but also from the perspective of constructive theology (what contribution can art past and present make to the very reformulation and expansion of Christian doctrine?). This paper offers a brief reading of three paintings by Rembrandt, of the Emmaus Road story in Luke 24.13–35. The theological significance of the changing interpretations of the passage is drawn out and the implications of the use of the paintings, in terms of the creative use of the Bible in Christian theology.
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Tehranian, Katharine Kia. "The Aesthetics of Presence: The Landscape Paintings of Peter Holbrook". Prospects 23 (ottobre 1998): 315–27. http://dx.doi.org/10.1017/s0361233300006360.
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Since its inception in the mid-1960s, photorealism has been criticized by those who viewed it as a naive perpetuation of pop art, but it has received the praise of those who have recognized the contributions of photorealism and their relevance to the intellectual climate of opinion of the last few decades. Photorealism challenges our conception of reality by raising questions about the way we see things.
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Kho, Youenhee. "Meritorious Heroes". Sungkyun Journal of East Asian Studies 21, n. 1 (1 maggio 2021): 1–25. http://dx.doi.org/10.1215/15982661-8873872.
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Abstract This study explores the allegorical usage of hawk painting to praise a hero with meritorious deeds in Yuan China (1271–1368) and early Chosŏn Korea (1392–1910). Through an analysis of Yuan-dynasty poems inscribed on hawk paintings, this article demonstrates that paintings of a hawk sitting still on a tree in the woods conveyed the allegory of a hero subduing wily beings, such as rabbits and foxes. Moreover, Yuan paintings of a hawk and a bear (yingxiong 鷹熊) employed a Chinese rebus and represented the animals as heroes, comparing them to historical heroic and loyal figures. This article then turns to Chosŏn Korea, where two types of hawk paintings reflected the Korean reception of Yuan counterparts. One was the painting of a hawk sitting still, which indicated the hero's readiness for future achievements. Another, with the motif of a rabbit caught in the hawk's talons, emphasized the hero's successful achievements and gained popularity through the late Chosŏn dynasty. The Chinese and Korean allegories of heroic contributions emerged in response to complicated politics, as the Yuan government comprised multiple ethnic groups and the early Ming and early Chosŏn were newly established after the fall of previous dynasties. For the same reason, the hawk-hero allegory began to lose its relevance over time, and hawk paintings came to take on rather mundane meanings.
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Sherratt, Susan. "Iphiyenia Tournavitou. The Wall Paintings of the West House at Mycenae." Journal of Greek Archaeology 3 (1 gennaio 2018): 441–44. http://dx.doi.org/10.32028/jga.v3i.538.
Testo completoAbstract (sommario):
This book is an exceptionally full and thorough publication by Iphiyenia Tournavitou (with some further contributions by others) of wall painting fragments from the West House at Mycenae, the westernmost of the group of four buildings that lies to the west of the Mycenae Citadel and to the south of Grave Circle B. This group consists of the House of Shields, the House of the Oil Merchant and the House of Sphinxes as well as the West House, and is sometimes otherwise known collectively as the Ivory Houses.
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Bell, Catherine. "Worshiping the Ancestors: Chinese Commemorative Portraits. By Jan Stuart and Evelyn S. Rawski. [Washington, DC and Stanford, CA: Freer Gallery of Art and the Arthur M. Sackler Gallery in association with Stanford University Press, 2001. 216pp. $75.00. ISBN 08047 4262 6.]". China Quarterly 173 (marzo 2003): 214–51. http://dx.doi.org/10.1017/s000944390343012x.
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This lovely book accompanies a show of ancestor portraits from the mid-15th to the 20th century held at the Smithsonian's Arthur M. Sackler Gallery in 2001. The Sackler's recently acquired collection, supplemented for the show with contributions from the Freer Gallery and private collections, consists of 85 paintings depicting mostly noble and upper-class men and women, probably sold by families caught in the disruptions of the late Qing.
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Franses, Rico. "Introduction to “Iconic Space and the Rule of Lands,” by Marie-José Mondzain". Hypatia 15, n. 4 (2000): 55–57. http://dx.doi.org/10.1111/j.1527-2001.2000.tb00349.x.
Testo completoAbstract (sommario):
This introduction highlights two of Mondzain's contributions in the chapter reproduced here, “Iconic Space and the Rule of Lands.” The first is her discussion of a link between images and power, which stresses the formal characteristics of paintings rather than their narratives. The second is her examination of the specific task which representation is called on to perform in religious as opposed to secular contexts, where spiritual, otherworldly figures are given physical shape and form.
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Zhang, Haoyun. "Beauty of Water Movement in Leonardo's Paintings in Renaissance". Journal of Education, Humanities and Social Sciences 11 (20 aprile 2023): 213–19. http://dx.doi.org/10.54097/ehss.v11i.7628.
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Tracing back to the period between the 14th century and to the 17th century, the Renaissance was started in Italy, with the essence of humanism, which means the reverence for the Greek and Roman culture. Leonardo Da Vinci tends to be the originator of the theory of waves. This article focuses on Leonardo Da Vinci's fluid flow-related work and thought, as well as the beauty of the spiral, as exhibited in his notebooks, letters, and artwork. From the standpoint of water whirlpools, pigtail patterns, and Leonardo Da Vinci's cardiovascular research, using analogies, case analysis, and literature analysis, the beauty of the Renaissance's blending of science and art could be demonstrated. In addition, from the perspective of the values or contributions that Leonardo Da Vinci left behind, the emphasis may be placed on the reverence and awe that Leonardo bestowed upon life, and from the case studies of Golden Horn in Istanbul and The Chateau de Chambord that Leonardo proposed, the cultural heritage's aesthetic value as well as architecture value could be recognized and fully protected.
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Yaman, Handan Sabriye. "Perspective Analysis of Eustache Le Sueur and His Paintings". SPACE International Journal of Conference Proceedings 3, n. 2 (29 dicembre 2023): 9–19. http://dx.doi.org/10.51596/sijocp.v3i2.51.
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Eustache Le Sueur, a 17th-century French painter, is celebrated for his contributions to the Baroque movement. His artistry, profoundly influenced by Italian masters like Raphael and Poussin, is epitomised in "The Life of Saint Bruno", a series detailing the Carthusian founder's life. Notably, Sueur's exceptional skill in perspective use is a hallmark of his work. Perspective in art, the technique to create depth and distance illusions on a flat surface, was adeptly wielded by Sueur. He often employed "linear perspective", a method establishing a vanishing point with diverging lines, thus creating depth perception. This approach not only imparted a three-dimensional feel but also infused his paintings with dynamism and drama. By varying object size and placement, he enhanced the narrative and emotional intensity of his scenes. Sueur's mastery of perspective significantly contributes to his enduring legacy. His innovative use of this technique achieved depth and brought vibrancy and energy to his compositions. Today, his influence persists in modern painting, underscoring his pivotal role in the Baroque era and the enduring significance of his perspective techniques.
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Barros García, José Manuel. "Re-evaluating the roles of the cleaning process in the conservation of paintings". Ge-conservacion 7 (15 giugno 2015): 14–23. http://dx.doi.org/10.37558/gec.v7i0.210.
Testo completoAbstract (sommario):
At a time when defining the conservation of cultural heritage is undergoing important changes, it is necessary to rethink the roles of the cleaning process applied to paintings. Throughout the nineteenth and the twentieth century, the cleaning of paintings was the subject of continuous controversy which developed both in the academic field and in the pages of newspapers. In general, attempts have been made to define, one way or another, exactly what the role of cleaning should be. Four of these roles have been (and still are): cleaning as a conservation procedure, as revelation (of the original work or of the artist’s intent), as aesthetic presentation, and as a way of improving legibility. This article reviews these roles, their limitations and also raises a number of questions and issues in order to re-evaluate cleaning, taking into account contributions by the new theories of conservation.
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Mohr, Peter. "David Lloyd Roberts (1834–1920), Physician and Gynaecologist". Bulletin of the John Rylands Library 98, n. 2 (30 novembre 2022): 117–37. http://dx.doi.org/10.7227/bjrl.98.2.5.
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David Lloyd Roberts MRCS LSA MD FRCP FRS.Edin (1834–1920) was a successful Manchester doctor who made significant contributions to the advancement of gynaecology and obstetrics. His career was closely linked to the Manchester St Mary’s Hospital for Women and Children, 1858–1920. He lectured on midwifery at Owens College and the University of Manchester and was gynaecological surgeon to Manchester Royal Infirmary. He had many interests outside medicine, including a large collection of rare books, paintings and antiques. He produced an edition of Thomas Browne’s Religio Medici (1898) and a paper, The Scientific Knowledge of Dante (1914). He donated his books to the John Rylands Library and the London Royal College of Physician, his paintings to the Manchester Art Gallery, and he left a large endowment to Bangor College, Wales. This article reviews his medical work alongside his legacy to literature, the arts and education.
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Alvarez de Buergo, Monica. "Prefacio I". Ge-conservacion 11 (30 giugno 2017): 7. http://dx.doi.org/10.37558/gec.v11i0.528.
Testo completoAbstract (sommario):
This special issue constitutes an excellent and representative testimony of the variety of contributions presented during YOCOCU 2016.
The reader will find that the 41 papers in this special issue cover a wide range of materials (stone, gypsum, lime, mortar, ceramics, metal, paper, videos, textiles, paintings, plastics, pigments …), from different types of art and heritage: architectural and archaeological; contemporary and digital art; industrial heritage, vernacular, art caves and ethnographic heritage; museum collections, landscapes and intangible cultural heritage (CH).
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Fan, Xiaobing. "Cross-Cultural Art from the Perspective of Aesthetic Education: Cultural Exchange in Chinese Export Paintings (18th - 19th Century)". Journal of Education and Culture Studies 8, n. 2 (2 giugno 2024): p128. http://dx.doi.org/10.22158/jecs.v8n2p128.
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During the late Ming to early Qing dynasties, the great demand for Chinese export porcelain laid the foundation for the development of export paintings. From the 18th to the 19th century, a unique form of cultural hybridity emerged in the coastal area of Canton: export paintings. This paper attempts to explore the interaction, conflict, and fusion with foreign cultures within the frameworks of Homi Bhabha's "third space" theory and Mary Louise Pratt's concept of the "contact zone." It examines how this cross-cultural art form manifests hybridity in materials, painting techniques, and themes.From the perspective of aesthetic education, these paintings provide profound insights into the cultivation of aesthetic sensibilities and cross-cultural appreciation. Predominantly produced by Chinese painters and workshops, with a few contributions from visiting European painters, these artworks cover a broad range of subjects, including Chinese social life, flora and fauna, and folk customs. By examining the aesthetic value and educational potential of these works through the lens of aesthetic education, we can better understand their significance in cross-cultural art exchange. This cross-cultural art form not only holds aesthetic importance but also provides a new perspective for studying Sino-Western cultural interactions, enriching the discourse on art education and cultural exchange.
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McGeary, Thomas. "Music, men and masculinity on the Grand Tour: British flautists in Italy". Early Music 49, n. 1 (1 febbraio 2021): 101–28. http://dx.doi.org/10.1093/em/caab023.
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Abstract The Grand Tour was the highpoint of the education of the sons of many members of the British upper classes. Despite its contributions to British culture, the Tour came in for contemporary objection and satire. More recently Richard Leppert has used his construct of 18th-century British ideology of gender, class and music to argue that men’s musical activities on the Tour were devalued. This article re-assesses the role of music-making of males on the Grand Tour. It questions the basis of Leppert’s account, and documents an array of paintings depicting Grand Tourists with instruments. The paintings range from highly finished, formal portraits by Pompeo Batoni, to the personal caricatures by Joshua Reynolds, and the informal chalk sketches by Thomas Patch. The article also uses the newly discovered account book of the Hon. Charles Stanhope to show the attention and expenses he devoted to music while on his Grand Tour.
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Shawin, Mohammad Ferdous Khan. "Rural Life of Bangladesh Reflected in Hashem Khan’s Painting". Idealogy Journal 6, n. 2 (1 settembre 2021): 28–34. http://dx.doi.org/10.24191/idealogy.v6i2.290.
Testo completoAbstract (sommario):
Hashem Khan is considered as one of the key figures in Bangladesh art scenario. Born in Chandpur, Hashem Khan was graduated from the Faculty of Fine Art, Dhaka University in 1961. He was a Professor at the Faculty of Fine Art, University of Dhaka with 44-year experience and retired in the year 2007. He has achieved Ekushey Padak and Independence Day Award (The highest civilian award in Bangladesh) for his significant contributions in art and culture. Rural lifestyle is very unique in Bangladesh. Many poets, musicians, visual artists have taken inspiration from rural culture and life style of Bangladesh. His works reproduce the natural beauty of the village, rural life, and plenty of other things. He has used traditional folk colours like yellow, orange and green in his paintings and used folk motifs. Hashem Khan has done semi-realistic style of narration to communicate to the common people and also used vibrant colours in his paintings. The researcher here has selected the works of the artist for discussion and analysis from the exhibitions which were held from 1980 to 2018 in different art galleries in Dhaka, the capital of Bangladesh and also from two catalogues, which articulate 143 plates. The researcher has analysed his contents of the paintings. Besides the researcher also closely analysed the colours, composition and forms of the painting.
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Xiao, Jie. "Literati Ingredients in the 17th-Century Chinese Christian Paintings". Religions 15, n. 4 (22 marzo 2024): 383. http://dx.doi.org/10.3390/rel15040383.
Testo completoAbstract (sommario):
In this paper, the modification methods of the Chinese Christian painting created by the missionaries in the late Ming Dynasty (1573–1644) were analyzed with the Chinese Catholic studies of the “Song nianzhu guicheng” and the “Tianzhu Jiangsheng Chuxiang Jingjie”. After carefully studying the differences between the Chinese Christian painting and the original European version, the study shows that these Chinese Christian paintings were integrated with the Chinese literati paintings’ elements and literati symbols, which include the “Yudiancun” (raindrop texture stroke), “Pimacun” (hemp-fiber texture stroke), “landscape screen” (painted screens with natural landscapes), and the mark of Chinese famous literati such as Dong Qichang. These adjustments conducted by missionaries aimed to make religious paintings more in line with literati aesthetics, which could build connections between the missionaries and the literati community for proselytization. However, the missionaries neglected that the literati community certainly would not sacrifice the existing social order and the vested interest brought by the current Confucian culture to support new ideas of “liberty” and “equality” in the Catholic doctrine, which caused a huge setback in the missionary work since the Nanjing Teaching Case in 1616. This research makes significant contributions to the understanding of cultural exchanges in the 17th century through a detailed exploration of the adjustments made by missionaries in the visual representations within Chinese Catholic literature.
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Ruiz, Nicholas A., Michael R. Meager, Sachin Agarwal e Mariam Aly. "The Medial Temporal Lobe Is Critical for Spatial Relational Perception". Journal of Cognitive Neuroscience 32, n. 9 (settembre 2020): 1780–95. http://dx.doi.org/10.1162/jocn_a_01583.
Testo completoAbstract (sommario):
The medial temporal lobe (MTL) is traditionally considered to be a system that is specialized for long-term memory. Recent work has challenged this notion by demonstrating that this region can contribute to many domains of cognition beyond long-term memory, including perception and attention. One potential reason why the MTL (and hippocampus specifically) contributes broadly to cognition is that it contains relational representations—representations of multidimensional features of experience and their unique relationship to one another—that are useful in many different cognitive domains. Here, we explore the hypothesis that the hippocampus/MTL plays a critical role in attention and perception via relational representations. We compared human participants with MTL damage to healthy age- and education-matched individuals on attention tasks that varied in relational processing demands. On each trial, participants viewed two images (rooms with paintings). On “similar room” trials, they judged whether the rooms had the same spatial layout from a different perspective. On “similar art” trials, they judged whether the paintings could have been painted by the same artist. On “identical” trials, participants simply had to detect identical paintings or rooms. MTL lesion patients were significantly and selectively impaired on the similar room task. This work provides further evidence that the hippocampus/MTL plays a ubiquitous role in cognition by virtue of its relational and spatial representations and highlights its important contributions to rapid perceptual processes that benefit from attention.
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Greenwell, Amanda M. "Jessie Willcox Smith’s Critique of Teleological Girlhood in The Seven Ages of Childhood: “Sans Everything”". Jeunesse: Young People, Texts, Cultures 9, n. 1 (giugno 2017): 102–28. http://dx.doi.org/10.3138/jeunesse.9.1.102.
Testo completoAbstract (sommario):
This article examines the intertextuality of verbal and visual elements in “The Seven Ages of Childhood,” a series of seven paintings by Jessie Willcox Smith reproduced in The Ladies’ Home Journal in 1908–09, and then bound in book form. Drawing on sources including Smith’s biography, The Ladies’ Home Journal, the captions for each piece (modelled on lines from Shakespeare’s As You Like It), and Carolyn Well’s verse contributions to the book form, this article argues that “Seven Ages” contains a subversive critique of the traditional teleological arc of girlhood, the aim of which was marriageability.
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Kindall, Elizabeth. "Envisioning a Monastery: A Seventeenth-Century Buddhist Fundraising Appeal Album". T'oung Pao 97, n. 1-3 (2011): 104–59. http://dx.doi.org/10.1163/156853211x592589.
Testo completoAbstract (sommario):
AbstractThis article is devoted to an early seventeenth-century folio album (now mounted as a handscroll) assembled to invite potential donors to contribute to the reconstruction of Fuyuan Monastery, located on an island in Lake Tai, near Suzhou. The album included two paintings representing the monastery as it might look after reconstruction as well as a set of calligraphies by Suzhou luminaries recording the efforts of the monk who had initiated the fund-raising campaign and encouraging contributions. The artistic and social circumstances of the endeavor are analyzed on the basis of the texts in the album and other contemporary sources.
27
Monrad, Kaper. "The Nordic contributions to romanticism in the visual arts". European Review 8, n. 2 (maggio 2000): 173–83. http://dx.doi.org/10.1017/s1062798700004749.
Testo completoAbstract (sommario):
The Nordic achievements in the visual arts in the age of romanticism were first and foremost accomplished by Danish artists. The great initiator was C. W. Eckersberg, who observed reality with great scrutiny and demanded of himself a faithful rendering of all the details. However, at the same time, he stuck to the classical principles of composition and omitted all accidental and ugly aspects of the motif that did not fit into his concept of an ideal picture. The principles he laid down in his art in around 1815 formed the basis of Danish (and Norwegian) painting until 1850. He introduced open-air painting as part of the tuition at the Royal Academy of Copenhagen and was, in this respect, a pioneer in a European context. During the 1820s and 30s almost all the young Danish painters were pupils of Eckersberg, and he also influenced the Norwegian J. C. Dahl. The subjects of the Danish paintings are very down-to-earth – they are first and foremost taken from everyday life. In the first decades of nineteenth century, Copenhagen had the status as the most important art centre in Northern Europe, and the art academy attracted many German artists. However, around 1840, a growing nationalism separated the Danish and German artists, and many Danish landscape painters devoted their art to the praise of Denmark. The nationalist artists, however, still stuck to the reality they had actually seen.
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Mirhashemi, Arash. "Configuration and Registration of Multi-Camera Spectral Image Database of Icon Paintings". Computation 7, n. 3 (29 agosto 2019): 47. http://dx.doi.org/10.3390/computation7030047.
Testo completoAbstract (sommario):
At the cost of added complexity and time, hyperspectral imaging provides a more accurate measure of the scene’s irradiance compared to an RGB camera. Several camera designs with more than three channels have been proposed to improve the accuracy. The accuracy is often evaluated based on the estimation quality of the spectral data. Currently, such evaluations are carried out with either simulated data or color charts to relax the spatial registration requirement between the images. To overcome this limitation, this article presents an accurately registered image database of six icon paintings captured with five cameras with different number of channels, ranging from three (RGB) to more than a hundred (hyperspectral camera). Icons are challenging topics because they have complex surfaces that reflect light specularly with a high dynamic range. Two contributions are proposed to tackle this challenge. First, an imaging configuration is carefully arranged to control the specular reflection, confine the dynamic range, and provide a consistent signal-to-noise ratio for all the camera channels. Second, a multi-camera, feature-based registration method is proposed with an iterative outlier removal phase that improves the convergence and the accuracy of the process. The method was tested against three other approaches with different features or registration models.
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TOMASI, LUCIA TONGIORGI. "The study of the natural sciences and botanical and zoological illustration in Tuscany under the Medicis from the sixteenth to the eighteenth centuries". Archives of Natural History 28, n. 2 (giugno 2001): 179–93. http://dx.doi.org/10.3366/anh.2001.28.2.179.
Testo completoAbstract (sommario):
A vast body of botanical and zoological illustrations was produced in Tuscany between the sixteenth and the eighteenth century. This artistic activity was made possible by the humanistic-scientific tradition which had been established in Florence during the late fifteenth century, and was further encouraged by the Medici dynasty. The contributions made by three uniquely talented and original artists are discussed. Jacopo Ligozzi produced paintings of plants and animals whose scientific accuracy and artistic quality far surpassed anything achieved by his predecessors. The miniaturist Giovanna Garzoni produced floral paintings for the Medici family. Bartolomeo Bimbi combined the genre of botanical and zoological illustration with that of the still life to create works of striking originality. The crucial role played by the new scientific institutions created during the Renaissance is also discussed. A permanent artists' studio was set up in the mid-sixteenth century at Pisa Botanic Garden. Members of Accademia del Cimento in Florence engaged in pioneering studies with the microscope, a newly invented instrument which gave scientists and artists an entirely new perspective on the natural world. The scientist Francesco Redi carried out important work with the help of the artist Filizio Pizzichi who prepared stunning microscopic studies of insects.
30
Strong, Meghan E. "Do You See What I See? Aspects of Color Choice and Perception in Ancient Egyptian Painting". Open Archaeology 4, n. 1 (1 maggio 2018): 173–84. http://dx.doi.org/10.1515/opar-2018-0011.
Testo completoAbstract (sommario):
AbstractColor in ancient Egypt has been examined through linguistics, anthropological theory and archaeological science. In recent years, attention has focused on the application of art historical theories of reception and perception to ancient Egyptian art, but seldom on color itself. This article will examine aspects of color choice and visual perception, particularly focusing on use of the pigments yellow ochre and orpiment. Building on a growing body of art historical and archaeometric scholarship, it will demonstrate the contributions that experimental archaeology can make to the analysis and understanding of ancient Egyptian painting. Specifically, this study will examine why the Egyptian artist chose specific color combinations by taking into account the original space and lighting conditions of these paintings.
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Veltman, Kim H. "Leonardo da Vinci: A Review". Leonardo 41, n. 4 (agosto 2008): 381–88. http://dx.doi.org/10.1162/leon.2008.41.4.381.
Testo completoAbstract (sommario):
The article reviews scholarship on Leonardo da Vinci during the 20th century. An initial fascination with a handful of paintings has led to a nearly comprehensive understanding of his art. A catalogue raisonnée for Leonardo and his school has yet to be made. Awareness of Leonardo as a scientist began with a vague reputation of a universal genius who never finished anything. Some praised, others sought to limit him as an artist-engineer. The 20th century revealed that Leonardo made substantial contributions in the domains of physics, mechanics, optics, perspective and medicine. Even so, nearly 500 years after his birth, much remains to be done in understanding fully one of the great geniuses of all time.
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Wamsley, Douglas W. "Albert L. Operti: chronicler of Arctic exploration". Polar Record 52, n. 3 (16 dicembre 2015): 276–93. http://dx.doi.org/10.1017/s0032247415000753.
Testo completoAbstract (sommario):
ABSTRACTThe great wave of immigrants to the United States during the late 1800s brought many talented individuals who enriched American culture and society. Notable among them stands the Italian-born artist, Albert L. Operti (1852–1927), a versatile painter, illustrator and sculptor. For much of his professional career, Operti served as a scenic artist for the Metropolitan Opera House and later as an exhibit artist for the American Museum of Natural History. However, he maintained an avid personal interest in polar explorers and the history of polar exploration, ultimately turning his artistic skills to the subject. Operti served as official artist for Robert E. Peary during his Arctic expeditions of 1896 and 1897, producing paintings, drawings and even plaster casts of the Inuit from the expedition. Over the course of his lifetime he painted a number of ‘great’ pictures depicting, in a factually accurate manner, important incidents in Arctic history along with numerous smaller paintings, sketches, illustrations and studies. The quality of his work never rivaled his more talented contemporaries in the field of ‘great’ paintings, such as the prominent artists William Bradford and Frederic Church. Nonetheless, Operti achieved some recognition in his time as a painter of historical Arctic scenes, but the full extent of his contributions are little known and have been largely unexamined. Unlike the explorers themselves whose legacy rests upon geographic or scientific accomplishments and written narratives, Operti's legacy stands upon the body of distinctive artwork that served to convey, in realistic and graphic terms, the hardships and accomplishments of those explorers. This article recounts the life of Operti and his role as an historian in disseminating knowledge of the polar regions and its explorers to the public.
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SHAFRANOVSKIY, V., e S. NOVIK. "ORGANIZATION OF CLASSES IN CHURCH AND PARISH SCHOOLS OF THE XIX EARLY XX CENTURIES". Pedagogical Sciences, n. 75-76 (12 dicembre 2020): 135–38. http://dx.doi.org/10.33989/2524-2474.2020.75-76.226414.
Testo completoAbstract (sommario):
The article considers the problems that developed around the church-parish schools in the second half of the XIX century. and analysis of their further development under the control of the Holy Synod. The process of teaching in church-parish schools on the basis of the Rules of 1884 and the Programs of 1886 and 1898 is considered. The functioning of the system of public education in the second half of the XIX century. was represented by the initial level of knowledge acquisition, which mainly provides church-parish and zemstvo schools. These educational institutions served as a place of basic education for children of the lower strata of the population, mostly peasants. The main disciplines were: the Law of God, Church Slavonic reading, church singing, church history, arithmetic, Russian language, national history, geography, geometric drawing and painting, didactics, basics of hygiene, calligraphy. The activities of church-parish (church-parish) schools of Orthodox monasteries and churches of Ukraine, as the most common spiritual, religious and educational centers, have made a significant contribution to the education, upbringing and education of children and the people as a whole. The clergy experienced its special flourishing and significance in the system of education in the XIX century, which is due to the beginning of spiritual uplift in the country, the reform of spiritual and monastic education. 1810), the active development of church and parish schools, the growing interest in spirituality and the study of theology, the emergence of theoretical and methodological framework.
34
Kabat, Alan R. "Richard Frederick Deckert (1878–1971), Florida naturalist and natural history artist". Archives of Natural History 39, n. 2 (ottobre 2012): 321–37. http://dx.doi.org/10.3366/anh.2012.0098.
Testo completoAbstract (sommario):
Richard Deckert (born in Germany in 1878, immigrated to New York in 1887, died in Florida in 1971) was a polymath with great enthusiasm and wide ranging interests in natural history. His collections and publications did much to document the reptiles, amphibians, and land snails of Florida. His contributions to natural history illustration were equally important, as his carefully detailed line drawings and water colour paintings delineated the intricate details of snails, fishes, amphibians, and reptiles (particularly snakes and turtles), as well as fossil vertebrates, and were used in a wide range of systematic publications. Deckert also contributed to the modernization of fish taxidermy, leading to the current methods for creating lifelike fish mounts. This paper documents his scientific and artistic work.
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Giometti, Cristiano, e Loredana Lorizzo. "Rondinini paintings rediscovered: A self-portrait by Paul Bril and a ‘witchcraft’ by Pieter van Laer". Journal of the History of Collections 31, n. 2 (13 settembre 2018): 333–41. http://dx.doi.org/10.1093/jhc/fhy031.
Testo completoAbstract (sommario):
Abstract The Rondinini family is important for having developed a well-defined taste in collecting during the fifteenth to eighteenth centuries, with an interest in ancient sculpture and painting staged in their palaces and villas in Rome and its surroundings. The most eminent artists active in seventeenth-century Rome worked for them. The paintings presented here are the most relevant examples of a great number of works that have re-emerged during a collaborative research project conducted by the universities of Florence and Salerno on the family’s contributions to the history of collecting. The first is a signed self-portrait by the Flemish artist Paul Bril, a pioneer amongst the landscape painters active in Rome between the late 1500s and early 1600s – a work of large size for the artist (110.0 x 81.5 cm); the second is a ‘witchcraft crowded with figures’ painted by Pieter van Laer, an eminent Dutch painter and leader of the group of masters called the ‘Bamboccianti’.
36
Ulya, Wardatul, Dedi Masri e Muhammad Alfiansyah. "Konstribusi Ilmuwan Indonesia dalam Pengembangan Matakuliah ‘Ulumul Qur’an di Perguruan Tinggi 2010-2023". Al-Wasathiyah: Journal of Islamic Studies 2, n. 2 (12 ottobre 2023): 279–92. http://dx.doi.org/10.56672/alwasathiyah.v2i2.102.
Testo completoAbstract (sommario):
This newsletter examines numerous works of 'Ulûm Al-Qur'ân written through Indonesian scientists which might be used and widely used as references in universities and their actual contributions; due to the fact thus far what has been used as a reference is the paintings of 'Ulûm Al-Qur'ân in Arabic or a number of its translations. This studies became conducted in the form of qualitative studies the usage of the library research method with statistics series strategies inside the form of documentation of the literature with the aid of 'Ulûm Al-Qur'ân to then perform a descriptive-interpretative analysis. From the studies in preferred it became concluded that inside the 2010-present duration the works of 'Ulûm Al-Qur'ân from Indonesian scientists in this area of technological know-how skilled pretty great traits and there had been increasingly more, with the invention of 21 works which were extra than preceding studies and had no longer been used because the item of studies. those works are a actual contribution from Indonesian scientists in writing the work 'Ulûm Al-Qur'ân, and then it is hoped that those works can end up a source of reference inside the route 'Ulûm Al-Qur'ân after which serve as a supply of reference inside the bibliography. for other next works, parallel to the work of different students of the Islamic international.
Keywords: 'Ulumul Qur'an, Indonesian scientist, clinical paintings
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Sengoopta, Chandak. "Between Emulation and Innovation: Upendrakishore Ray and the Ambiguities of Colonial Modernity". History and Sociology of South Asia 11, n. 2 (12 giugno 2017): 83–100. http://dx.doi.org/10.1177/2230807517701572.
Testo completoAbstract (sommario):
Using the example of Upendrakishore Ray (1863–1915), a well-known Bengali artist, writer, technologist and publisher, this essay critiques prevalent theories that portray colonial Indian modernity as a largely derivative discourse. Addressing Ray’s globally recognised contributions to the refinement of technologies for the printing of photographs and paintings, the article shows how Ray’s relative lack of resources could not obstruct his innovative approach and investigates why, in spite of his originality, his Western recognition was no more than transient. Turning then to Ray’s views on pictorial art, the essay shows how in this area, he merely followed the precepts of western ‘academic’ art and failed to attain any originality. Indian engagements with modernity, the essay concludes, were neither exclusively original nor invariably imitative, and we need new theoretical approaches that can accommodate this diversity and unpredictability.
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Alt, Gordon. "Andrea Verrocchio and His Followers: An Exhibition". Sculpture Review 68, n. 4 (dicembre 2019): 8–15. http://dx.doi.org/10.1177/0747528420901913.
Testo completoAbstract (sommario):
Fifty exceptional works of Andrea del Verrocchio (1435-1488) are on exhibit at the National Gallery of Art in Washington DC. This important exhibit has sculpture, paintings and drawings of one of the most important Renaissance Masters of the fourteenth century. While considered foremost a master sculptor along with Donatello and Michelangelo, he was also noted for his important innovations in painting. As teacher, his workshop was the most important in Florence, and included the young Leonardo da Vinci, Pietro Perugino and Sandro Botticelli. His David and Boy with Dolphin are just of few of the masterpieces included in this important exhibition, which covers a full range of his contributions and will remain on view until January 12, 2020. This is the only opportunity to see this powerful collection in this country as it returns immediately to Italy.
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GONÇALVES, Everton Das Neves. "A NECESSÁRIA TRANSIÇÃO PLANETÁRIA: (IN) CONVENIENTES DO COVID-19 PARA VIABILIZAR A BENFAZEJA COLHEITA FUTURA NO BRASIL E NA COMUNIDADE INTERNACIONAL DE ESTADOS". Revista Juridica 2, n. 59 (12 aprile 2020): 255. http://dx.doi.org/10.21902/revistajur.2316-753x.v2i59.4091.
Testo completoAbstract (sommario):
RESUMO Objetivo: O trabalho registra as primeiras impressões, em especial, no Brasil, em março de 2020, sobre origem e avanço do COVID-19 a partir de uma situação anômala de quarentena física. Como objetivo geral, o estudo investiga a visão espiritualista da análise econômica do Direito como instrumental para implementar alteridade nas relações sociais. Metodologia: Trata-se de pesquisa qualitativa, de método dedutivo e com recurso à análise bibliográfica e documental; tem como marco teórico, autores neoinstitucionalistas como Douglas North e Joseph Schumpeter e espíritas como Francisco Candido Xavier e Divaldo Pereira Franco. Resultados: Conclui-se que o COVID-19 propicia a oportunidade para a difusão de visão político-econômico-jurídica, voltada para a alteridade e a felicidade, a necessidade de mudança na forma de agir individual e coletiva para que seja possível a felicidade. O COVID-19 vem como mais um instrumento de “reorganização” da humanidade, ainda que o custo de vidas seja tão alto do ponto de vista existencial. O ceifar da morte ainda nos deixa perplexos; porém, do ponto de vista da essência humana, grandes aprendizados podem ser introjetados em nossa experiência de vida. Contribuições: O trabalho registra a origem e avanço do COVID-19, destacando a necessidade de mudança no agir individual e coletivo, possibilitando a felicidade. Especificamente, objetiva alertar para a necessidade de comportamento econômicojurídico, visando o bem econômico social através da “autodestruição renovadora eficiente-econômico-social” (ADRECOS). Palavras-chave: Direito e Economia; Direito e felicidade; análise econômica do Direito e o COVID-19. ABSTRACT Objective: The paper records the first impressions, especially in Brazil, in March 2020, about the origin and advance of COVID-19 from an anomalous physical quarantine situation. As a general objective, the study investigates the spiritualist view of economic analysis of Law as instrumental to implement otherness in social relations. Methodology: This is a qualitative research, using a deductive method and bibliographic and documentary analysis; has as its theoretical framework, neoinstitutionalist authors such as Douglas North and Joseph Schumpeter and spiritualist such as Francisco Cândido Xavier and Divaldo Pereira Franco. Results: It is concluded that COVID-19 provides the opportunity for the diffusion of a political-economic-legal view, focused on otherness and happiness, the need to change the way of acting individually and collectively, so that happiness is possible. COVID-19 comes as another instrument for the “reorganization” of humanity, even though the cost of living is so high from an existential point of view. The reaping of death still perplexes us; however, from the point of view of human essence, great learnings can be introjected into our life experience. Contributions: The work records the origin and progress of COVID-19, highlighting the need for change in individual and collective action, enabling happiness.Specifically, it aims to alert to the need for economic-legal behavior, aiming at the social economic good through the “efficient-economic-social renovating selfdestruction” (ADRECOS). Keywords: Law and Economics; Law and happiness; economic analysis of Law and COVID-19.
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Martínez Frías, Jesús, e Jesús Enrique Martínez Martín. "Art and geology in the Renaissance: Leonardo da Vinci, Alberto Durero and Georgius Agricola". BOLETÍN GEOLÓGICO Y MINERO 134, n. 1 (marzo 2023): 13–28. http://dx.doi.org/10.21701/bolgeomin/134.1/001.
Testo completoAbstract (sommario):
The Renaissance was a human time period in which culture stood out as a common whole. It was based on a humanistic and integrative cosmovision of mankind in the framework of nature and the universe. This article synthetically describes and analyses the relationships between Art and Geology through three exceptional and illustrative Renaissance figures: Leonardo da Vinci, Albert Dürer and Georgius Agricola. In the first two, making an approach from Art to Geology and in the latter, from Geology to Art. Leonardo is, unquestionably, the quintessential polymath and a pioneer, among other areas of knowledge, in geology and geosciences. His global contributions will be described using his own phrases, writings, drawings and paintings. In the case of Dürer, his famous work, Melancholy I, will be the main focus of study, specifically with reference to the mineralogical hypothesis regarding his enigmatic polyhedron. Thirdly, Agricola will be uncovered through his famous work, “De Re Metallica”. He was a scientist and an engineer, but also a pioneer in geology and mineralogy who used drawings to complement his geoscientific contributions. Finally, this Renaissance thematic connection will be compared to today's world situation. It has been suggested that Digital Age could correspond to a new period similar to the Renaissance, where innovation and creativity merging Art, Science and Technology, would be enhanced and benefited from a context of global communication.
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Li, Jie. "Dialogue on Artistic Expression: A Study of Oriental Elements in 19th-Century Impressionism". Journal of Education, Humanities and Social Sciences 31 (27 aprile 2024): 151–59. http://dx.doi.org/10.54097/nskets35.
Testo completoAbstract (sommario):
As one of the most significant art movements in the 19th century, Impressionism broke down conventional boundaries, laying the foundation for today’s artistic styles to flourish. This paper aims to explore the integration of Oriental elements of Impressionism and to reveal the influence of cultural exchange on art movements. The introduction section provides a comprehensive overview of Impressionism, focusing on the research goals that revolve around Oriental aspects. The paper utilises an exhaustive approach, including a literature review, artwork analysis, and examination of historical records, ensuring a thorough exploration of Oriental influences. The structure of this paper acts as a guide for readers, highlighting unique contributions such as exploring little-known Eastern elements and interpreting artworks from new perspectives. By deeply studying the historical background of Impressionism, this paper discusses the interests in Eastern art and its influences on the Western art movement in the 19th century, examines the channels of cultural exchange, and analyses the reception of Oriental elements through case studies. At the same time, the influences of oriental traditions and elements such as brushwork, composition, and calligraphy on the natural depiction, colour application, daily life, symbolism, and character representation of Impressionist paintings are also discussed. In conclusion, this paper summarises the key findings and contributions and emphasises the importance of Oriental elements in Impressionist art.
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Manning, Sean. "The History of the Idea of Glued Linen Armour". Mouseion 17, n. 3 (1 luglio 2021): 491–514. http://dx.doi.org/10.3138/mous.17.3.003.
Testo completoAbstract (sommario):
Many people have heard that ancient warriors wore armour of many layers of linen cloth glued together. Critics emphasize the lack of archaeological or written evidence for this construction; supporters emphasize that their reconstructions resemble armour in ancient art and pass practical tests. Both present the theory as one that first appeared in the 1970s. This article make two contributions to the debate. It shows how sixteenth-century scholars used a peculiar medieval chronicle to understand the linen armour in ancient texts, and how paraphrases and mistranslations of their theory ultimately lie behind the glued linen of today’s experiments, and it places this debate in the world history of fabric armour and the history of armour scholarship. It proposes that theories about the armour in vase paintings and sculptures should be based on archaeological evidence, types of armour documented in other cultures, or a close study of ancient textile technology, not on simply examining artwork and reading ancient texts.
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Gambardella, Alessa A., Marine Cotte, Wout de Nolf, Kokkie Schnetz, Rob Erdmann, Roel van Elsas, Victor Gonzalez et al. "Sulfur K-edge micro- and full-field XANES identify marker for preparation method of ultramarine pigment from lapis lazuli in historical paints". Science Advances 6, n. 18 (maggio 2020): eaay8782. http://dx.doi.org/10.1126/sciadv.aay8782.
Testo completoAbstract (sommario):
Ultramarine blue pigment, one of the most valued natural artist’s pigments, historically was prepared from lapis lazuli rock following various treatments; however, little is understood about why or how to distinguish such a posteriori on paintings. X-ray absorption near-edge structure spectroscopy at the sulfur K-edge in microbeam and full-field modes (analyzed with nonnegative matrix factorization) is used to monitor the changes in the sulfur species within lazurite following one such historically relevant treatment: heating of lapis lazuli before extracting lazurite. Sulfur signatures in lazurite show dependence on the heat treatment of lapis lazuli from which it is derived. Peaks attributed to contributions from the trisulfur radical—responsible for the blue color of lazurite—increase in relative intensity with heat treatment paralleled by an intensified blue hue. Matching spectra were identified on lazurite particles from five historical paint samples, providing a marker for artists’ pigments that had been extracted from heat-treated lapis lazuli.
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West, John B. "Leonardo da Vinci: engineer, bioengineer, anatomist, and artist". American Journal of Physiology-Lung Cellular and Molecular Physiology 312, n. 3 (1 marzo 2017): L392—L397. http://dx.doi.org/10.1152/ajplung.00378.2016.
Testo completoAbstract (sommario):
Leonardo da Vinci (1452–1519) enjoys a reputation as one of the most talented people of all time in the history of science and the arts. However, little attention has been given to his contributions to physiology. One of his main interests was engineering, and he was fascinated by structural problems and the flow patterns of liquids. He also produced a large number of ingenious designs for warfare and a variety of highly original flying machines. But of particular interest to us are his contributions to bioengineering and how he used his knowledge of basic physical principles to throw light on physiological function. For example, he produced new insights into the mechanics of breathing including the action of the ribs and diaphragm. He was the first person to understand the different roles of the internal and external intercostal muscles. He had novel ideas about the airways including the mode of airflow in them. He also worked on the cardiovascular system and had a special interest in the pulmonary circulation. But, interestingly, he was not able to completely divorce his views from those of Galen, in that although he could not see pores in the interventricular septum of the heart, one of his drawings included them. Leonardo was a talented anatomist who made many striking drawings of the human body. Finally, his reputation for many people is based on his paintings including the Mona Lisa that apparently attracts more viewers than any other painting in the world.
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Santos, Raquel, Ana Claro, Blythe McCarthy e Jessica Hallett. "Color Power: Contributions of Science and Technology to the Study of Sixteenth- and Seventeenth-Century “Vine-Scroll” Carpets". Textile Museum Journal 47, n. 1 (2020): 137–59. http://dx.doi.org/10.1353/tmj.2020.a932818.
Testo completoAbstract (sommario):
Abstract: In recent years, research on carpets has focused on the production and consumption of Persian “vine-scroll” carpets produced between the sixteenth and seventeenth centuries. Through the study of collections in Portugal and the United States, this paper looks at the transformation of the Iranian carpet industry in response to the demands and competitiveness of the growing international market and how, when, and where this occurred. Based on an interdisciplinary approach involving art history, history, and conservation science and by bringing together the complex political, economic, and cultural backgrounds that set the stage for major innovations in carpet production, this study identified the development of a new carpet type and its variations through a comprehensive survey of fifty-nine selected carpets. Technical and material analysis, especially of dyes, achieved a more detailed understanding of the origin and context of production and local manufacturing processes. Meanwhile, the carpet designs and their depictions in European paintings were traced to develop a chronology for the evolution of production. In this paper, in addition to presenting general results of this combined methodology, a group of four carpets are presented as case studies that offer insights into the evolution of the vine-scroll type and new interpretations on the roles of the producer and consumer between the sixteenth and seventeenth centuries.
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Fine, Steven. "Symposium on the Dura-Europos Synagogue Paintings, in Tribute to Dr. Rachel Wischnitzer, November, 1968: The Contributions of Morton Smith and Meyer Schaptro". IMAGES 3, n. 1 (2009): 129–41. http://dx.doi.org/10.1163/187180010x500252.
Testo completo
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Longoni, Margherita, Alessia Buttarelli, Marco Gargano e Silvia Bruni. "A Multiwavelength Approach for the Study of Contemporary Painting Materials by Means of Fluorescence Imaging Techniques: An Integration to Spectroscopic Methods". Applied Sciences 12, n. 1 (23 dicembre 2021): 94. http://dx.doi.org/10.3390/app12010094.
Testo completoAbstract (sommario):
Imaging methods based on visible luminescence induced by ultraviolet (UV) radiation are well consolidated in the investigation of ancient works of art, to map varnishes, retouches, and possibly some pigments. As far as contemporary art is involved, the wide range of synthetic materials, especially pigments, introduced from 1850 onwards, makes the possible application of the technique particularly challenging. Among the colouring substances used by artists in the 19th and 20th centuries, only cadmium-based pigments received attention due to their typical near-infrared luminescence. Nevertheless, the fluorescence emission exhibited by several synthetic pigments upon visible excitation was recently demonstrated and confirmed using UV radiation in the present work. The subsequent possibility of individuating such materials in paintings by ultraviolet fluorescence (UVF) images was explored on mock-up painting samples of a wide series of pigments dispersed in oil or acrylic binder. Visible and infrared luminescence images obtained by irradiating with visible radiation (VIVF and VIL) were also collected. It was thus evidenced the possible advantage of the choice of a different excitation wavelength in discriminating between the contributions of pigment and binder. Finally, a recent oil painting on panel was also examined as case study.
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Sardiwalla, Yaeesh, e Steven F. Morris. "Dr Henry Shimizu: The Journey of a Canadian Plastic Surgeon, Advocate, and Artist". Plastic Surgery 27, n. 1 (3 ottobre 2018): 6–9. http://dx.doi.org/10.1177/2292550318799752.
Testo completoAbstract (sommario):
Dr Henry Shimizu was a dedicated Canadian plastic surgeon with Japanese roots who spent his career practicing in Edmonton at the University of Alberta Hospital. He relished the opportunity to share his expertise by training residents and medical students. Dr Shimizu completed his plastic surgery training in the United States and was central to establishing the plastic surgery training program in Edmonton. Beyond clinical practice, Dr Shimizu was a prominent advocate in his community, serving as the Chairman of the Redress committee for Japanese internment. As a talented painter, he had produced magnificent oil paintings based on childhood recollections as an internee in the Slocan Valley. Dr Shimizu has made significant contributions to Canadian plastic surgery serving as president of the Canadian Society of Plastic Surgeons in 1978. His clinic work and dedication to the community at large were recognized with the Order of Canada in 2004 and more recently an honorary degree from the University of Victoria. Dr Shimizu continues to golf, paint, and travel in his retirement. He is happily married to his wife Joan and is the proud father of 4 children and 6 grandchildren.
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JACOBSEN, HELEN. "LUXURY CONSUMPTION, CULTURAL POLITICS, AND THE CAREER OF THE EARL OF ARLINGTON, 1660–1685". Historical Journal 52, n. 2 (15 maggio 2009): 295–317. http://dx.doi.org/10.1017/s0018246x0900747x.
Testo completoAbstract (sommario):
ABSTRACTHenry Bennet, earl of Arlington, is a neglected statesman. A sometime diplomat, he was Charles II's longest-serving secretary of state, held the highest household office for ten years, and married his daughter to a royal bastard. It is, however, his artistic patronage that has most conspicuously been overlooked and, consequently, its political significance underestimated. Informed by his experiences abroad, he appreciated the power of the arts to influence and impress and used the cultural mediation of the English diplomatic network in his control to help skilfully fashion his domestic political identity. Through judicious display of architecture, paintings, sculpture, and furniture, Arlington created a cultural world that confirmed both his close relationship with Charles II and his dominance of foreign affairs. Even after he resigned as secretary of state in 1674, Arlington continued to deploy artistic patronage for political ends: as lord chamberlain, he controlled the largest government department and was formally responsible for fashioning the royal image. This article reconsiders Arlington's contributions as a statesman through his considered use of material consumption and artistic patronage and thereby illuminates corners of cultural practice which are situated firmly in the political sphere.
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Yin, Huiyi. "Unveiling Cross-Cultural Hidden Nexus: An Analysis of Chinas Contribution to the Cultural Influence of the East on the West". Communications in Humanities Research 31, n. 1 (17 maggio 2024): 105–14. http://dx.doi.org/10.54254/2753-7064/31/20231978.
Testo completoAbstract (sommario):
Even though the cultural communication between Japan and Europe is massively documented, such as the impact of ukiyo-e prints on Impressionism, Chinese culture's enormous contributions are overlooked. Ukiyo-e is often regarded as the primary source that influenced Impressionism from the East during the Meiji Restoration in the fin de sicle. The East's impact on the West is long-lasting rather than explosive. The critical power of traditional Chinese art and innovations, for example, the moveable type printing, over the evolution of European art movements has yet to be noticed due to political and geographic limitations. Citing paintings by Ma Yuan (1160-1225), Li Song ( active 1190-1230) and Wang Ximeng (1096-1119) in China, Katsushika Hokusai (1760-1849), Utagawa Kuniyoshi (1798- 1861), and Hiroshige (1797- 1858) in Japan, Vincent Van Gogh (1853- 1890) in the Netherlands, and Claude Monet (1840-1926) in France, among others, as examples of specific comparisons and cultural analyses, this article delves into the hidden connections and cultural exchanges, through working on the technical and iconographical forms from ancient China that shaped the European art in the epoch of high modernism.