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1
Filatova, Tetiana. "Guitar Music of Celso Garrido-Lecca: Modern Projections of Peruan Traditions". Scientific herald of Tchaikovsky National Music Academy of Ukraine, n. 134 (17 novembre 2022): 139–54. http://dx.doi.org/10.31318/2522-4190.2022.134.269653.
Testo completoAbstract (sommario):
The relevance of the article is to deepen the analytical aspect of knowledge about Peruan guitar music of the late 20th – early 21st centuries in the context of the renewal of genre traditions of Andean music on the example of works by Celso Garrido-Lecca. Main objective of the study is to determine the influence of Peruvian traditions on the guitar music of Celso Garrido-Lecca in the conditions of modern creative contexts. The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis for: contextual consideration of the composer's creative activity; study of genre and style elements of Peruvian music traditions of folk, professional and non-academic origin in their interaction with the academic language of new music; comparison of the genealogy of rhythmic structures and their manifestations in the researched works; correlation of associative-figurative series with timbral connotations, specific genres and intonation and chord patterns. Results and conclusions. The study of the guitar music of the contemporary Peruvian composer Celso Garrido-Lecca performed by masters of academic art opens interesting pages of the new South American repertoire. Loyalty to the folklore traditions of his country, the study of timbre specificity and aesthetics of the Andean sound, the organology of ancient aerophones and local analogues of the charango, the collective practice of music making, as well as the ethnic language elements of the music of the coastal regions have affected the author's guitar works. Household traditions of Peruvian culture are identified in the sound atmosphere of the new vocabulary of the European model - polytonal “collage” music layers, constructivist modal octatonic arrangements, in the context of serial elements and polystylistic overlays of “foreign” texts. The genealogy of the rhythms deciphered in the composer's guitar opuses indicates a closeness to specific genre features: the Andean rhythm formulas of the huáyno, the Afro-Peruvian festejo, the ancient figures of the landó, the Creole samacueca, the tondero and the marinera with Iberian roots. The author resorted to quoting folklore sources in "Popular Andean Dances" with their updating with musical means of modern vocabulary; imitated the timbres of Andean flute orchestras in the cycle “Poetics” in the guitar parts; introduced the Andean charango of the Ayacuchan model into the scores of the orchestral versions of his suites; in the part of the instrumental duet of charango and guitar. In Celso Garrido-Lecca's guitar works, syntheses of archaic thinking of folkloric Andean chants, hybrid origins of poetics of local Creole and Afro-Peruvian rhythms with new language and intonation paradigms of academic art are organically embodied. Research perspectives are seen in the study of the influence of Peruvian culture on the modern non-academic traditions.
2
Coler, Matt, Patrice Guyot e Edwin Banegas-Flores. "Verbal art as heuristic for semantic analyses". LIAMES: Línguas Indígenas Americanas 20 (2 ottobre 2020): e020011. http://dx.doi.org/10.20396/liames.v20i0.8660368.
Testo completoAbstract (sommario):
Aymara is an Amerindian language spoken mainly in Peru and Bolivia. To date, relatively little is documented about Aymara verbal art. Accordingly, we analyze a traditional song recorded in the Peruvian highlands. We provide a musical and linguistic analysis of the non-prosodic poetic song structure. We detail the octosyllabic, homeoteleutonic strategies for line formation, the melodic and rhythmic characteristics, and outline the syntactic, morphological, and semantic strategies used in forming semantic couplets. This reveals semantic categories which would not be apparent in a traditional linguistic analysis. Furthermore, the musical analysis confirms previous works on the misperception of a musical anacrusis. We conclude that rigorous, scientific analyses of verbal art require consideration of the construction of meaning through practice and dialog.
3
Quilter, Jeffrey. "The Moche Revolt of the Objects". Latin American Antiquity 1, n. 1 (marzo 1990): 42–65. http://dx.doi.org/10.2307/971709.
Testo completoAbstract (sommario):
Stories involving the death of the sun and a subsequent revolt of objects against humans are variants of a common and ancient Native American myth, and it is argued that a number of art works from the Moche culture of the Peruvian north coast depict a variant of this myth. The “Revolt of the Objects” theme is part of a narrative sequence representing an important epic of the late Moche culture that is linked to other Moche art, larger symbolic concepts, and sociopolitical events. Now that simple diffusionistic explanations are no longer applicable, the occurrence of similar themes in myths and art throughout the Americas is a subject that should be reexamined.
4
Shalem, Avinoam. "“What a Small World”: Interpreting Works of Art in the Age of Global Art History". Getty Research Journal 13 (1 gennaio 2021): 121–42. http://dx.doi.org/10.1086/713432.
Testo completo
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Adi, Sigit Purnomo. "PELATIHAN PEMBUATAN MINIPRINT DENGAN MENGGUNAKAN MEDIA TRIPLEK DI KOMUNITAS MAKMOER ART PROJECT SUKOHARJO". Abdi Seni 12, n. 1 (3 novembre 2021): 45–50. http://dx.doi.org/10.33153/abdiseni.v12i1.3748.
Testo completoAbstract (sommario):
Abstract Miniprint is one of the print size formats in graphic arts that is not yet very popular in Indonesia. Miniprint format prints in small sizes both matrix and paper. Printing in small sizes is fun. Small format requires patience and technical skill in visualizing the artist's ideas and ideas. Considering that miniprints have many features apart from a small format, they can also be carried everywhere and can also be used as an aesthetic element or room decorator and have good selling power, encouraging the author to hold a workshop or training on making miniprints in the Makmoer Art Project Sukoharjo community. The selection of the training venue in the Makmoer Art Project Community is because this community is indeed engaged in the arts and humanity. A community that always provides free workshops to people in need. Community service methods, problem identification, training and mentoring, evaluation. The works produced in this training after completion are then framed in a minimalist way. The miniprints produced are small-sized works of graphic art, using a matrix of plywood. These works are used as aesthetic elements of the house or as room decoration. Works for the aesthetic element of the house are currently popular among the public so that they have a selling value and can be used as an alternative in entrepreneurship.
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Gentle, Paul, e Marco Giliberti. "Were valuable art works an economic form of money during the German Third Reich Period and its aftermath?" Public and Municipal Finance 6, n. 4 (20 dicembre 2017): 33–38. http://dx.doi.org/10.21511/pmf.06(4).2017.04.
Testo completoAbstract (sommario):
This examines the special use of art works as a store of value in Germany during the Third Reich era. Some Jews were able to buy their freedom, as the fascists closed in. Then as the Third Reich fell, some escaping fascists used art works to secure freedom outside of Germany. One of the characteristics of money is a store of value. When confidence in a currency is present, the more conventional form of money takes precedence. A respected, economic form of currency and coin has all three elements of money: medium of exchange, store of value and unit of account. This last trait is especially absent when using various art works as money, as there is no agreed upon unit of account with such different art. Furthermore, art works could not qualify as a medium of exchange, since only a very small amount of the population was involved in this way of dealing in art during the stressed times for the Third Reich.
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Bowen, Barbara C. "A Neglected Renaissance Art of Joking". Rhetorica 21, n. 3 (2003): 137–48. http://dx.doi.org/10.1525/rh.2003.21.3.137.
Testo completoAbstract (sommario):
This article proposes that we add to the small number of Renaissance works on the art of creating or using facetiae an almost unknown De arte iocandi by an almost unknown Mattheus Delius, who died young. The work is a poem in four books, in Ovidian elegiac couplets, obviously inspired by the De arte bibendi of Vincentius Obsopoeus; both works have been assumed to be paradoxical encomia but arein fact seriousalbeit playful compendia of rules. Delius is interested not in the rhetorical use of jokes as weapons, but in something very close to Erasmus's festivitas. The preface by Melanchthon almost qualifies as an independent art of joking, and together they add valuable information to our knowledge of Reformation wit.
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Thomas, Leslie. "ART WORKS Projects: Claiming Public Space for Human Rights". Revista Electrónica de Derecho Internacional Contemporáneo 3, n. 3 (18 dicembre 2020): 167–70. http://dx.doi.org/10.24215/2618303xe013.
Testo completoAbstract (sommario):
ART WORKS Projects (AWP) was born out of desperation. A photo of a small boy who had been murdered in a genocidal attack against civilians in Darfur by a Sudanese government intent upon their eradication led to the formation first of the DARFUR/DARFUR exhibition of large-scale exterior projections and eventually to AWP. The founders, by and large architects, filmmakers, editors, photographers, lawyers, and designers, weren’t naive enough to believe that art can always end genocide (or any other grave human rights abuse), but they knew it impacted them and so they theorized that the same could happen to policymakers, voters, and ultimately, perpetrators.
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Yang, Zeyin. "Application and Development of Digital Enhancement of Traditional Sculpture Art". Scientific Programming 2022 (3 febbraio 2022): 1–8. http://dx.doi.org/10.1155/2022/9095577.
Testo completoAbstract (sommario):
Sculpture art, as an important carrier of spiritual civilization, also portrays a prosperous scene as an industry with urban and cultural development. Three-dimensional technology offers a new platform for sculpture creation, allowing for the digitization of sculpture works via electronic information technology, and the display of sculpture works in front of people via displays, facilitating the exchange and dissemination of information and promoting the growth and progress of the entire sculpture creation industry. We plan to use digital enhancement technology to conduct small-scale creation experiments on traditional sculpture works, discuss the method of GA (Genetic Algorithm) in image restoration processing, investigate the method of image segmentation processing based on the genetic algorithm, and propose the method of image segmentation processing based on the fuzzy membership surface genetic algorithm, in order to verify and solve the creation difficulties of traditional sculpture works.
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Akimov, Dmytro. "Marketing researches and promotion works of art in the fine art’s marketing". Almanac "Culture and Contemporaneity", n. 1 (31 agosto 2021): 139–44. http://dx.doi.org/10.32461/2226-0285.1.2021.238609.
Testo completoAbstract (sommario):
The purpose of the article. Research and analysis of marketing technology algorithms by means of market segmentation in fine arts marketing. The methodology of the study is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the processes of segmentation of the fine arts market with the subsequent use of research results in the marketing processes of promoting works of art from artist to consumer. The scientific novelty consists in expanding the notions about the research of marketing processes in the art market. The article establishes that in the second half of the XX century - at the beginning of the XXI century in the art market very actively and effectively were used and are used marketing models and technologies. But professional scientific activity, scientific researches in the field of art market marketing have been conducted and are conducted insufficiently. Therefore, it can be stated that artistic creativity is the area of meticulous attention of large, small, and medium-sized businesses, which, in turn, created the art market, but still has not attracted specialists in this field of sociological, economic, marketing sciences. Scientific, research work on the positioning of works of art aims to determine the main market qualities of works of art, their recognizability for further promotion of works in the markets using advertising and other marketing mechanisms. The main purpose of the article: analysis of the specifics of the realization of classical marketing technologies (marketing researches, positioning of works of fine art) in the marketing of fine arts. Conclusions. The analysis of the problems of using traditional marketing technologies in art marketing carried out in the article gives grounds to state that such technologies are used in the art market, but they differ significantly from other market areas. Besides, due regard should be paid to the effectiveness of marketing technologies in the art market. Note that such traditional marketing technology as marketing researches is insufficiently used in the marketing of fine arts. Technology deserves special attention in art marketing. The technology of positioning works of art and artists deserves special attention in art marketing. The positioning of works of art in the implementation of the marketing approach allows the market to implement such strategies to meet the demand for works of art as: negative demand, lack of demand, latent demand, declining demand, irregular demand, full demand, excessive demand, unwanted demand.
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Pan, Liang. "Trends in the development of institutions and forms of artistic communication in modern St. Petersburg". Философия и культура, n. 4 (aprile 2024): 127–40. http://dx.doi.org/10.7256/2454-0757.2024.4.70254.
Testo completoAbstract (sommario):
The subject of the study is the works of contemporary St. Petersburg artists of different generations and creative trends, as well as the forms and features of their communication with each other and with the general as well as professional public. The trends of artistic communication in the city are determined by the activities of such institutions as art and non-art museums, art galleries and exhibition centers, which are a classic form of presentation of contemporary art; alternative venues such as creative spaces and art clusters. The field of attention also includes the attraction of St. Petersburg authors to the organization of small artistic associations, mainly art groups, for example, "Unconquered", "North-7", "Parasites", etc. In addition to works of art, theoretical works and reflections by researchers of contemporary art in St. Petersburg and the spaces of its public presentation are involved. The methodological basis is the analysis of the works of St. Petersburg masters of the beginning of the XXI century in the context of the development of urban institutions of artistic communication. The research is based on theoretical works devoted to the problem of artistic communication and trends in the current art process. Comparative-interpretative and typological methods are used to compare the works of artists and forms of artistic communication. The problem of artistic communication in the field of fine art in St. Petersburg is becoming the subject of a separate study. This area of city life is currently developing quite dynamically, as new art associations, curatorial practices and alternative classical platforms for the presentation of the work of authors belonging to different generations and art movements are emerging. Traditional museums and galleries, as well as creative spaces, art clusters and other often non-core institutions, such as libraries and cafes, are involved in this process. Against this background, the features of St. Petersburg artistic communication crystallize, which is characterized by a desire to organize communities, to fuse realistic traditions and current trends, to escapism and symbolism, as well as an interest in oriental themes and stylistics.
12
Gromov, Mikhail N. "Methodology of the Study of Ancient Russian Art and Culture". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 269–78. http://dx.doi.org/10.37816/2073-9567-2022-65-269-278.
Testo completoAbstract (sommario):
Old Russian art and Old Russian philosophy have many similar typological features. Therefore, the consideration of ancient Russian art, from a philosophical point of view, has a certain methodological significance. Old Russian texts can be divided into three groups according to the degree of saturation of their philosophical and aesthetic content. The first group consists of the most serious books, including: “The source of knowledge” by John of Damascus, “Dioptra” by Philip the Hermit, “The logic of Aviasaph” and a number of others. The second group, the most numerous, includes the works of Metropolitan Hilarion, Maxim the Greek, Cyril of Turov, some Apocrypha and other works. The third group includes monuments of business writing. The works of the second group require careful textual study. In addition to monuments of writing, it is important to consider non-verbal sources: monuments of painting, architecture, and small plastic art. In the whole, all of them provide a general yet clear overview of the Old Russian art.
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Harbie, Putri R. A. E. "Curation and Presentation to Enrich Value on Intermedia Art in a Contamporary Art Exhibition". IMOVICCON Conference Proceeding 1, n. 1 (3 luglio 2019): 108–15. http://dx.doi.org/10.37312/imoviccon.v1i1.12.
Testo completoAbstract (sommario):
The moving image has evolved into a very common medium used in both narrative and non-narrative way, exhibited in a film festival or art exhibition. Narrative film nowadays distributed digitally and can be exhibited in both the big screen and small screen (such as mobile phone, laptop screen, mini projector) without possibly losing any storytelling value. While non-narrative film/video mostly exhibited in a special treatment to enrich the main message. The small screen was commonly used to present this medium in an art exhibition. Art manager has a responsibility to curate and presents the intermedia works in order to reach either aesthetic value or financial value. There is a myth that intermedia art isn't a profitable collectible item, so when an artist uses the medium it was considered an artwork made for fun.
In this research, the writer will analyze small screen exhibition on one of the largest contemporary art exhibition in Yogyakarta, ARTJOG. The research method used was qualitative with literature, archive, and interview approach. Hopefully, this research will be a good discourse between moving image and fine art.
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Morante, R., F. Goyache, A. Burgos, I. Cervantes, M. A. Pérez-Cabal e J. P. Gutiérrez. "Genetic improvement for alpaca fibre production in the Peruvian Altiplano: the Pacomarca experience". Animal Genetic Resources Information 45 (ottobre 2009): 37–43. http://dx.doi.org/10.1017/s1014233909990307.
Testo completoAbstract (sommario):
SummaryPacomarca is an experimental ranch founded by the INCA group to act as a selection nucleus from which basic genetic improvement of alpaca fibre can spread throughout the rural communities in the Peruvian Altiplano. State-of-art techniques in animal science, such as performance recording or assisted reproduction including embryo transfer, are applied to demonstrate their usefulness in the Altiplano conditions. Pacomarca has developed useful software (Paco Pro) to carry out the integral processing of production and reproduction data. Mating is carried out individually, and gestation is diagnosed via ultrasound. Breeding values estimated from a modern genetic evaluation are used for selection, and embryo transfer is applied to increase the selection intensity. However, the objective of Pacomarca goes beyond, extending its advances to the small rural communities. Training courses for farmers are organised while searching for new ways of improving the performance of alpacas both technically and scientifically.
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Agratina, Elena E. "Jean-Honoré Fragonard: The New in the Notions of “Sketchiness” and “Completeness”". Observatory of Culture 18, n. 2 (31 maggio 2021): 174–85. http://dx.doi.org/10.25281/2072-3156-2021-18-2-174-185.
Testo completoAbstract (sommario):
The second half of the 18th century was a time of active changes in the perception of art, rethinking many concepts and phenomena. One of them was the pictorial sketch, which transformed from a preparatory stadium work into an independent, complete piece of art. Many art theorists and critics, as well as painters themselves had contributed to this rethinking. Many young artists, bored of historical painting and indifferent to all the academic principles, were searching for new media of expressiveness, using the sketch-like pictorial manner to give their works a new dynamism and an impression of “easy production”. The article is dedicated to J.-H. Fragonard (1732—1806), an artist in whose works the “sketchiness” became a conscious artistic method used in small-format pieces, in large-scale canvases, and even in panels. The use of such a technique in grand scale works is considered to be an extreme unconventionality, which, however, was not appreciated by Fragonard’s contemporaries and even by scholars of the next two centuries. Fragonard’s series of ‘Fantasy Portraits’ attracted enough investigators’ attention, but his series ‘Progress of Love’ has only recently begun to be recognized by researchers as an unusual and bold for that time artistic experience. Based on the analysis of the artist’s selected works, the author builds her original research, designed to highlight Fragonard’s special role in the evolution of art on the way from the Modern Period to Contemporary History. The relevance of the present article is caused by too little examination of this topic: minimal in Russia and relatively small in France. Besides consultation with research literature, this required the author to constantly directly refer to the 18th-century sources, such as treatises by art connoisseurs and scholars, art criticism, and catalogues of exhibitions arranged by the Royal Academy of Painting and Sculpture or the Académie de Saint-Luc.
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Qu, Yifeng. "Interpretations of Rice Paper Watercolor Painting in Art Teaching". Review of Educational Theory 3, n. 1 (30 marzo 2020): 62. http://dx.doi.org/10.30564/ret.v3i1.1635.
Testo completoAbstract (sommario):
The ricepaperplant pith is also known as Tetrapanax papyrine, Akebia, or tall gastrodia fruit, a kind of shrub or small tree of the Araliaceous. It is native to south China and Taiwan Prov., the raw material of rice paper. Extract its central tissue from the stem to make pith slices which could be made as the watercolor painting paper. It arose in Guangzhou in the 19th century, and the themes are mainly focused on reflecting the social life scenes as well as various characters in late Qing Dynasty, such as officials, soldiers, juggling, weaving, playing instrument, etc. The works are lively, vivid, and bright in colors. As the result of using western painting principles and reflecting Chinese local customs, rice paper watercolor paintings were admired by Westerners at that time. However, as pith paper is fragile, the size of painting was usually small and difficult to conserve, there are few works handed down in China. In recent years, the rice paper watercolor painting has attracted more and more concern, which is of great significance to the study of the development of early Western paintings in China.
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Kravcenko, Vladimir. "Some issues on the development of digital art in the Republic of Moldova". Arta 30, n. 1 (agosto 2021): 124–29. http://dx.doi.org/10.52603/arta.2021.30-1.18.
Testo completoAbstract (sommario):
The paper examines the creative segment of digital art, which has been carried out by professional graphic artists in the independent Republic of Moldova, including finished artworks produced in big and small print runs, and also unique graphic works. Sketches and technical drawings of any kind are excluded from the study. Important data is provided about different images (chiesel works, book illustrations, caricatures, postage stamps, ex-librises), which were rendered digitally both in full and in part. Also, concise information is offered on the professionals practicing the respective type of digital art over the years. There is also contoured the process of nationwide spread of the digital images and the specifity of the digital creative tool. The author also examines the professional attitude towards digital art in the Republic of Moldova in terms of the relationship between mass production, traditional handmade art and digital execution technique. The reasons and conditions for the dissemination of digital images in national art are specified. The dynamics of opinions on the role of the computer in the creation and modification of graphic works at different stages of the evolution of digital and traditional technology in the Republic of Moldova is traced.
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Tsiuliupa, Natalia, Victoria Bytsyak e Larisa Smyk. "PECULIARITIES OF WORKING ON WORKS OF SMALL FORM IN THE PIANO CLASS". Мистецька освіта та розвиток творчої особистості, n. 2 (2023): 74–77. http://dx.doi.org/10.32782/art/2023-2-13.
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Jackson, Philip W. "Dewey's 1906 Definition of Art". Teachers College Record: The Voice of Scholarship in Education 104, n. 2 (marzo 2002): 167–77. http://dx.doi.org/10.1177/016146810210400201.
Testo completoAbstract (sommario):
This paper contains an appreciative exegesis of a single sentence extracted from a speech that John Dewey delivered to an audience of teachers in 1906. The sentence was selected for analysis because of the extraordinarily concise manner in which it tacitly connects to a wide variety of Deweyan doctrines, particularly those having to do with Dewey's vision of human flourishing. The overall goal of the analysis is simply to bring the sentence to the attention of a wider audience. By displaying the hidden richness of this small string of words, delivered almost nonchalantly, one suspects, and on such a relatively inauspicious occasion, my hope is to prevent a tiny gem from remaining lost and forgotten within the vastness of Dewey's published works.
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Liu, Zhuang Zhuang, Zhi Feng Liu e Guo Ping An. "Geometric Mobiles Innovative Design Method Based on the Computer Simulation Environment". Applied Mechanics and Materials 248 (dicembre 2012): 190–96. http://dx.doi.org/10.4028/www.scientific.net/amm.248.190.
Testo completoAbstract (sommario):
Geometric mobiles is a new kinetic art which become a new technique combined with basic science and modern art. Geometric mobiles design and calculation by mechanics and mathematics in order to have a slowly and elegant movements. An innovative and efficient design method is first established based on virtual technology and polymorphs small cell centroid point analytical rule. The method reveals the intrinsic relationship between Geometric mobiles and mathematics & mechanics modeling, provides the mathematics foundation for art works innovative and next research.
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Walden, George. "Contemporary Art, Democracy, and the State". Royal Institute of Philosophy Supplement 45 (marzo 2000): 85–95. http://dx.doi.org/10.1017/s1358246100003325.
Testo completoAbstract (sommario):
Not long before the change of Government in Britain in 1997, the then Heritage Secretary, Virginia Bottomley, made a speech in which she praised British contemporary art, describing it as the most exciting and innovatory in the world. Unexciting as it seemed, her observation was profoundly innovatory, indeed in its small way historic. To my knowledge no British Cabinet Minister, still less a Conservative, has ever given an official seal of approval to what is conventionally regarded as avant-garde art. The Labour Government has echoed its predecessor's praise at a higher volume, as if determined to out-do it. The sanctification by the state of works of contemporary art has now become part of the discourse of officialdom.
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Park, Jung A. "A Study on the Status of Digital Work Recognition Based on NFT: Focusing on text mining analysis". Korea Institute of Design Research Society 7, n. 2 (30 giugno 2022): 9–19. http://dx.doi.org/10.46248/kidrs.2022.2.9.
Testo completoAbstract (sommario):
Recently, NFT, an irreplaceable token called convergence art that combines digital technology and art, is attracting attention in the field of design and art. The purpose of this study is to analyze NFT technology-based digital works that are rapidly growing along with rapid demand for IT technology through issues of the times, the development of cryptocurrency blockchain technology, and the trend change in the art market through text mining. As a method of research, text mining is conducted by setting the last year as a collection period from March 2021 to February 2022, when NFT grew the most rapidly using TextStom of Big Data tools. As a result, first, it was confirmed that works, sales, metaverse, and media, which are major controversial keywords in the NFT field reviewed in previous studies, are the main keywords that provide the foundation of potential means in planning NFT technology-based digital works. Second, NFT's "coin", "sales", "game", "metaverse", and "work" keywords showed that NFT art was provided in the form of a metaverse, or was considered to be the value of content creation in the form of a game or brand character. Third, it can be seen that it is considered as a new platform closely related to NFT digital work creators, such as guaranteeing intellectual property rights in virtual exhibitions related to copyrights in the nature of blockchain and securing accessibility to digital works. Fourth, although it was a small proportion in word sentiment analysis, it was found that NFT could cause financial losses in terms of negativity, and art or profits as investment products had a bubble in market prices, so it was necessary to be cautious. Starting with the analysis map proposed in this study, it is hoped to be helpful as current status data that can be referred to when constructing digital works based on NFT technology.
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Moyano-Chiang, Giuliana. "«Indias Huancas» de Julia Codesido = «Indias Huancas» by Julia Codesido". Espacio Tiempo y Forma. Serie VII, Historia del Arte, n. 8 (17 novembre 2020): 221. http://dx.doi.org/10.5944/etfvii.8.2020.27408.
Testo completoAbstract (sommario):
La obra Indias Huancas de Julia Codesido (1883-1979) forma parte de la colección de arte moderno del Centro Pompidou de París y es una obra que, al igual que muchas obras de artistas mujeres, actualmente no está expuesta al público. Este artículo analiza el trabajo de Codesido desde la perspectiva feminista y decolonial. Al mismo tiempo, la relectura de su obra propone una revisión de la iconografía representada a partir de la significación de sus elementos. Codesido fue una artista comprometida con las ideas de la vanguardia artística del Perú, su adhesión a la estética indigenista le permitió crear obras que alteraron los cánones academicistas, explorando nuevas formas de expresión. Mediante estas nuevas maneras de representación restituyó la presencia de las mujeres y su diversidad étnica y cultural en la historia del arte del Perú.AbstractThe work Indias Huancas by Julia Codesido (1883-1979) is part of the modern art collection of the Center Pompidou in Paris and is a work that, like many works by female artists, is currently not on public view. This article analyzes Codesido’s work from a feminist and decolonial perspective. At the same time, the re-reading of her work proposes a revision of the iconography represented from the significance of its elements. Codesido was an artist committed to the ideas of the artistic avant-garde of Peru, her adherence to the Indigenist aesthetics allowed her to create works that altered academic canons, exploring new forms of expression. Through these new forms of representation, she restored the presence of women and their ethnic and cultural diversity in the history of Peruvian art.
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Jiang, Bingchao, e Min-Lyoung Choi. "A Study on Water-based Paints Applied for Art Makeup". Journal of the Korean Society of Cosmetology 28, n. 5 (31 ottobre 2022): 1054–71. http://dx.doi.org/10.52660/jksc.2022.28.5.1054.
Testo completoAbstract (sommario):
In creating works of ‘Art Makeup’ called ‘the pinnacle of makeup’ specific and systemic learning is required for inexperienced beginners or students to acquire basic knowledge or quality of art makeup. For this reason, we analyzed characteristics of water-based paints in order to examine what changes in colors there were when these paints mixed with water were applied to the skin and became completely dry in a certain time. We also looked into their consistency-how long they lasted against drying speed, stimulation or contact. The findings are as follows. First, in the water-based paints we analyzed, we saw color fading with change in color purity and decreased saturation compared to original products when they were completely dry. Especially, in the case of achromatic color, white, completely dry, decreased in lightness, resulting in very low whiteness compared to the original product, whereas black, completely dry, increased in lightness, resulting in low blackness compared to the original product. Therefore, in expressing works with black and white in high lightness, it would be better if achromatic color is used for the sake of painting over or applying a little achromatic color on a small part of the skin for highlight effect. Second, water-based paints which are applied to the works undergo a drying process to preserve the works. In the drying process, we found a very large deviation in time depending upon color. Hence, in creating art makeup works, arranging sequence of colouring needs to take into account the drying speed which varies depending upon color. Finally, water-based paints had consistency against stimuli such as a little bit movement unless there were direct stimuli to them after they were applied to the skin and became completely dry. But they turned out to be vulnerable to watery stimuli such as sweat. Therefore, location, lighting, and temperature should be taken into consideration in creating works. Especially, in a sweating-triggered environment, a lot of attention should be paid to keep the works intact. If necessary, water resistant products may be a good choice.
25
Nguyen Thi Thanh, Nga. "A SURVEY ON THE RESEARCH OF TRADITIONAL CULTURAL SYMBOLS APPEARED IN THE Y.KAWABATA NOVELS IN VIETNAM". Journal of Science Social Science 65, n. 11 (novembre 2020): 54–63. http://dx.doi.org/10.18173/2354-1067.2020-0071.
Testo completoAbstract (sommario):
Kawabata is one of Japan’s leading writers. Kawabata’s works are a place to preserve and preserve old traditional values becoming a miraculous bridge to bring Japan across the ocean to the whole world, and to bring the world to the land of beautiful cherry blossoms. Therefore, his works have been the object of many large and small research projects domestically and internationally. Within the scope of the article, we have conducted surveys of works and articles on traditional cultural symbols in Kawabata’s novels under the following angles: Biography, Poetry, Psychoanalysis and Culture, thereby, affirming the talent and the unique art style of Kawabata. Beauty is at the heart of culture and art in Japan so Kawabata’s writing point of view also focused on the ultimate beauty including its expression and the way in which it is expressed.
26
Zimmermann, Julia. "Ambivalenzen der Darstellung und Zirkelschlüsse der Interpretation. Die Tanzdarstellung Hiltbolts von Schwangau im ‚Codex Manesse‘ und der Reigen höfischer Tugenden im ‚Roman de la Rose‘". Das Mittelalter 23, n. 2 (6 novembre 2018): 427–46. http://dx.doi.org/10.1515/mial-2018-0022.
Testo completoAbstract (sommario):
AbstractNumerous studies covering courtly dancing and its portrayal in medieval European religious art and literature seem to have, to a large extent, exhausted this subject. Nevertheless, works on courtly dances remain, for the most part, more speculative in nature than apparent at first glance. This is amazing when we consider the importance of courtly dance in literature and art dating from the Middle Ages, as there are only few Middle High German poems in which collective dance is not mentioned. Contrasting with this great number and wide range of references to dance is its small footprint in works dealing with the history of dance. Only a small number of works touch up this issue, and these have only collected and analysed fragments of the source material available. Hence, any conclusions cannot but lack critical depth with regard to the varying degrees of stylisation present, and their importance when attempting to draw comparisons between reports bound by tradition and stereotyped in nature, and those that exhibit greater literariness. This paper aims to discuss these problems and serves as a contribution to the field of the history of dance as reflected in medieval literature.
27
Sung, Gum-Ju, e Yong-Mi Jin. "A Study on Hair Art with the Motif of Winter Flowers". Journal of the Korean Society of Cosmetology 27, n. 6 (31 dicembre 2021): 1307–12. http://dx.doi.org/10.52660/jksc.2021.27.6.1307.
Testo completoAbstract (sommario):
The purpose of this study is to increase the artistic value of hair art. And it is about providing basic data and expanding contributions to follow-up research. Hair art works reinterpret the inner beauty of winter flowers that bloom in full bloom in the cold winter. The research method collected prior studies and references based on winter flowers. Also, we selected four types of winter flowers and analyzed their shapes and colors. I created 4 pieces of hair art. As a result, the colorful color of work 1 increased the aesthetic effect due to its high chroma. Works 2 expresses the elegance of irregularly blooming petals on a single stalk. In work 3, warm yellow flowers are soft and cozy on a scrawny tree. The flower in work 4 is seductive navy purple. And the large and small flowers were placed stably with increased concentration. In conclusion, the possibility of creating hair art from a new perspective was confirmed by applying several colors with white wigs. In future research, we look forward to the possibility of combining hair art with nature motifs and re-lighting it with formative art to satisfy its value.
28
Krasnova, I. V. "FORMATION OF THEIR OWN STYLE IN THE WORK OF ARTISTS OF CHUGUEV". Topical Issues of Culture, Art, Education 4, n. 38 (2023): 7–24. http://dx.doi.org/10.32340/2949-2912-2023-4-7-24.
Testo completoAbstract (sommario):
The article is devoted to the study of the life and work of representatives of the art school of painting in Chuguev. Due to the huge losses of their heritage, it still remains a blank spot in the history of national culture. The uniqueness of the masters of the brush of a small military settlement, which was Chuguev in the 19th century, consists in the fact that they came from a soldier and peasant environment. Mastering various technical techniques of painting, they worked in different genres. This allowed the Chuguev artists to create works of a secular and spiritual nature, including icons and frescoes. New names of Chuguev painters are introduced into scientific circulation, the characteristic of the works of Chuguev masters that have reached our time is given, and the peculiarities of their creativity are highlighted. The myth of the influence of Western European art on the work of the Chuguev masters is debunked. The Chuguev Art School is part of the Russian art school. Its significance lies in the fact that in the conditions of military settlements, examples of high art were created, understandable and close to every resident. The works created by local artists contributed to the creation of a special spiritual atmosphere in the Chuguev military district, the development of a common mentality and spiritual unification of the swedens – people of different nationalities and faiths.
29
Abramkin, Ivan A. "Comparing Literary Criticism and Art History: The Problem of Sentimentalism in Russian Historiography". Vestnik of Saint Petersburg University. Arts 13, n. 1 (2023): 188–206. http://dx.doi.org/10.21638/spbu15.2023.109.
Testo completoAbstract (sommario):
The article is devoted to the historiography of sentimentalism in the Russian scientific tradition. The purpose of the research is to compare the methods used in literary and art studies to overview this phenomenon. The uncertainty of ideas about sentimentalism in the visual arts requires an appeal to literary studies. A careful analysis of works on sentimentalism in this field revealed the special role of the works of M. M. Bakhtin and G. N. Pospelov, who created original concepts of this phenomenon, and has made it possible to state a wide range of methods. Consideration of the sentimentalism problem in the history of art has demonstrated not only the generality of ideas and a small number of methods in comparison with literary criticism, but also the main principles inherent in the scientific tradition. Firstly, the idea of sentimentalism is based on abstract theses. Secondly, the main approach is to compare sentimentalism with classicism and Romanticism, which prevents determining its place in the art of the 1790s. Thirdly, the pictorial system of sentimentalism is considered in the most general form and turns out to be devoid of a thorough art historical description. A critical analysis of historiography allowed to identify promising areas of modern research of sentimentalism in art criticism: a careful analysis of the artistic features of works, the study of the metamorphoses of the portrait genre as well as a comparison of the Russian portrait with European art of the 18th — early 19th centuries.
30
Marter, Joan M. "The Engineer Behind Calder’s Art". Mechanical Engineering 120, n. 12 (1 dicembre 1998): 53–57. http://dx.doi.org/10.1115/1.1998-dec-2.
Testo completoAbstract (sommario):
This article reviews the significance of Alexander Calder’s, a renowned sculptor, technical and engineering expertise that has become increasingly clear in recent years. Calder’s most important innovation in the development of wire sculpture was the suspension of his wire forms from a single wire thread. A small wood-and-wire caricature of a monkey was the first, soon followed by several caricatures of Josephine Baker, the star of La Revue N è gre at the Folies Bergè re and an international sensation in 1925. Like Leonardo da Vinci, Calder was primarily interested in problem solving, in experimenting with materials, mechanical systems, and devices. Calder’s studio was like a laboratory, with experimental works piled into corners or suspended from hooks in the ceiling. The most engaging aspect of Calder’s sculpture was its interaction with space. Mobiles participated in lively dialogues with their environs, reacting to air currents and human touch.
31
Dudkiewicz, Margot, e Uliana Havryliv. "Experiencing art in city space on the example of the environment of the Galeria Labirynt in Lublin". Przestrzeń Urbanistyka Architektura 2022, n. 2 (dicembre 2022): 49–66. http://dx.doi.org/10.37705/pua/2/2022/04.
Testo completoAbstract (sommario):
Art in public space is still untapped potential. The garden at ‘Labirynt’ Gallery is an opportunity to publish a work of art and a place for a wide range of artistic activities. Here, access to works will be free and universal, and the art exhibited in public space will enter into a dialogue with the viewer. The design concept was influenced by the terrain, the existing vegetation, and the gallery building style. A new communication system, elements of small architecture, plantings, and illuminations were designed. The design of the Gallery’s surroundings was to make the facility recognizable and friendly.
32
Heckenberg, Kerry. "Conflicting Visions: The Life and Art of William George Wilson, Anglo-Australian Gentleman Painter". Queensland Review 13, n. 1 (gennaio 2006): 1–21. http://dx.doi.org/10.1017/s1321816600004244.
Testo completoAbstract (sommario):
Research for this paper was prompted by the appearance of a group of nine small landscape paintings of the Darling Downs area of Queensland, displayed in the Seeing the Collection exhibition at the University Art Museum (UAM), University of Queensland from 10 July 2004 until 23 January 2005. Relatively new to the collection (they were purchased in 2002), they are charming, small works, and are of interest principally because they are late-colonial depictions of an area that was of great significance in the history of Queensland.
33
Prati, Silvia, Francesca Volpi, Raffaella Fontana, Paola Galletti, Loris Giorgini, Rocco Mazzeo, Laura Mazzocchetti, Chiara Samorì, Giorgia Sciutto e Emilio Tagliavini. "Sustainability in art conservation: a novel bio-based organogel for the cleaning of water sensitive works of art". Pure and Applied Chemistry 90, n. 2 (23 febbraio 2018): 239–51. http://dx.doi.org/10.1515/pac-2017-0507.
Testo completoAbstract (sommario):
Abstract Organo- and hydrogels have been proposed in the restoration field to treat different types of surfaces. The possibility to retain solvents and to have a controlled and superficial action allowed to use these materials for the removal of very thin layers applied on ancient historical objects, when the under paint layers are particularly delicate and water sensitive. In the last years, an increased attention has been devoted to the proposal of more healthy products to guarantee the safeguard of the operators. Few attention has been devoted to the development of green methods which foresee the use of renewable and biodegradable materials. The aim of this paper is to test a green organo-gel for the cleaning of water sensitive surfaces like varnished egg tempera paintings. The gel has been tested experimented on mock ups varnished with natural and synthetic materials and has been validated on a small portion of a Cimabue painting for the removal of two varnishes applied on two different test areas of the painting.
34
Alieva, Olga O. "The Images, Technique and Stylistic Features of the Baroque Style in the Works of the Urals Stonecutters". ICONI, n. 1 (2021): 40–51. http://dx.doi.org/10.33779/2658-4824.2021.1.040-051.
Testo completoAbstract (sommario):
The article examines the particularities of the development in the Urals region of the genre of fi gurative sculpture of small forms from assembled stone by means of comparison with the art of the Italian masters from the baroque period, the establishers of this type of stonecutting art. The small fi gurative sculpture from assembled stone (polylite), which has developed as an independent genre of the art of stonecutting in the 17th century in Italy, acquired further development not only in Western Europe, but also in Russia, in the large-scale centers of artistic elaboration of stone in the country. In the region of the Ural Mountains, notwithstanding the pre-revolutionary conditions, the mastery of the principles of preparation of anthropomorphic images in the polylite technique took place only during the Soviet period as a particular school of preparation of specialists. At the contemporary stage it becomes possible to observe an active development of this genre in the artworks of the stonecutters of the Urals. The present-day fl ourishing of the polylite fi gurative sculpture of small forms in the works of the Urals-based stonecutters is connected here not only with the culture of elaborating this material and the successive continuity of the skills of working in the polylite technique, but also with the turn to the traditions of polychrome fi gurative compositions of Florentine masters of the Baroque Era, the effectiveness and naturalist qualities of their depiction.
35
Mochalsky, N. A. "ARTIST DMITRY MOCHALSKY AND HIS WORKS". Arts education and science 1, n. 2 (2020): 103–12. http://dx.doi.org/10.36871/hon.202002013.
Testo completoAbstract (sommario):
"Girlfriends", "Virgin Soil Newlyweds", "A Protracted Explanation", "New Settlers. From a Tent to a New House", "Day off", "Tractor Tent" — these and other works were created by the artist Dmitry Mochalsky during the thaw era, his small genre compositions of the war years were continued in the whole cycle of works "People of Virgin Lands". This stage in the artist's work is characterized by a free manner of painting, the discovery and revival of the traditions of color, coming from the masters of the beginning of the century. The main direction in the works of artists of the 1908s–1988s was the image of the simple man, in contrast to the heroic canvases of the "cult of personality" period, this was facilitated by the weakening of censorship and condemnation of many previous negative trends in art.
36
SCHEDEL, MARGARET ANNE. "Alternative venues for computer music: SoundGallery_Living Room_ARTSHIP". Organised Sound 9, n. 3 (dicembre 2004): 301–3. http://dx.doi.org/10.1017/s1355771804000500.
Testo completoAbstract (sommario):
The audience for contemporary classical music is small – the audience for computer music is even smaller. Traditional concert halls are failing to generate interest in new instrumental music, much less computer music, while museums are having much more success with new art, including art with a technological component. By marketing our music to art galleries and museums, we can reach an audience predisposed to accept the new and unusual in artistic expression. Presenting the works of music outside a traditional proscenium setting also helps shatter any a priori definitions of ‘music’ audiences may hold. Using the term ‘Sound Art’ instead of ‘music’ may also help to free people struggling to appreciate unfamiliar sounds.
37
Zhao, Yuanyuan. "Formation and Schema Analysis of Oil Painting Style Based on Texture and Color Texture Features under Few Shot". Computational Intelligence and Neuroscience 2022 (13 giugno 2022): 1–10. http://dx.doi.org/10.1155/2022/4125833.
Testo completoAbstract (sommario):
Texture has strong expressiveness in picture art, and color texture features play an important role in composition. Together with texture, they can convey the artistic connotation of portrait, especially in oil painting. Therefore, in order to make the picture form oil painting style and oil painting schema, we need to study the texture and color texture in combination with the previous oil painting art images. But now, there are few samples of good oil paintings, so it is difficult to study the texture and color texture in oil paintings. Therefore, in order to form a unique artistic style of modern oil painting and promote the development of modern oil painting art, this paper studies the texture and color texture characteristics in the environment of few oil painting works. This paper establishes a model through deep neural network to extract the image incentive and color texture of oil painting art works, which provides guidance for promoting the development of oil painting art. The experiments in this paper show that the depth neural network has high definition for the extraction of texture and color texture of small sample oil painting images, which can reach more than 85%. It has high guiding significance for the research and creation of oil painting art.
38
Lee, Jennifer. "Portable Prototypes: Canterbury Badges and the Thomasaltar in Hamburg". Arts 10, n. 3 (27 luglio 2021): 51. http://dx.doi.org/10.3390/arts10030051.
Testo completoAbstract (sommario):
Pilgrims’ badges often depicted works of art located at a cult center, and these cheap, small images frequently imitated monumental works. Was this relationship ever reversed? In late medieval Hamburg, a painted altarpiece from a Hanseatic guild narrates the life of Thomas Becket in four scenes, two of which survive. In 1932, Tancred Borenius declared this altarpiece to be the first monumental expression of Becket’s narrative in northern Germany. Since then, little scholarship has investigated the links between this work and the Becket cult elsewhere. With so much visual art from the medieval period lost, it is impossible to trace the transmission of imagery with any certainty. Nevertheless, this discussion considers badges as a means of disseminating imagery for subsequent copying. This altarpiece and the pilgrims’ badges that it closely resembles may provide an example of a major work of art borrowing a composition from an inexpensive pilgrim’s badge and of the monumental imitating the miniature.
39
Bulak, Ksenia A. "The Theme of the High North in the Art of Krasnoyarsk Artist Stepan Fedorovich Turov". Vestnik of Saint Petersburg University. Arts 14, n. 1 (2024): 78–96. http://dx.doi.org/10.21638/spbu15.2024.105.
Testo completoAbstract (sommario):
Stepan Fedorovich Turov was drawing artist who has served an important purpose of the development of book illustration at the Krasnoyarsk Krai, he was an artist who has been famous in his own lifetime at home and abroad. Works of art on the theme of the North forms a large part of Turov’s heritage but no one research that characterized specificity of realization of the North at Turov’s creative work has been published until the present. There is very small amount of published works about the artist. I. M. Davydenko’s opening chapter of the catalogue of posthumous exhibition of Turov of the 1983 is only one attempt to bring comprehensive analysis of the art of the artist. At books and papers of T. M. Lomanova, E. D. Getmanski and V. Averikhin only a few artworks made by Turov are examined. The aims of this scientific paper are to summarize data about graphic works made by Turov and devoted to the North and to find specific pictorial patterns that are used at these works. At the paper the key aspects are contemplated where the theme of the North in the art of Turov was found out: book illustration, series of easel etchings, linocut landscapes, ex-libris. There was made a connection between book illustration and easel graphic works made by Turov on the theme of the North. This paper not only brings a coherent picture of the development of the theme of the North in art of Turov for the first time. It also put into scientific circulation an information about unpublished artworks made by Turov and new facts of the artist’s biography connected with the North. It was identified that the theme of the North is essential in art of Stepan Fedorovich Turov. Often he tried out new genres and composition patterns specifically within the theme of the North. There were denoted characteristic features of works of art made by Turov on the theme of the North such as individual method of describing a space and keen perception of the culture of indigenous northern people.
40
Pazuchanics, Skye Lee, e Douglas J. Gillan. "Displaying Depth in Computer Systems: Lessons from Two-Dimensional Works of Art". Proceedings of the Human Factors and Ergonomics Society Annual Meeting 49, n. 17 (settembre 2005): 1583–87. http://dx.doi.org/10.1177/154193120504901718.
Testo completoAbstract (sommario):
Virtual depth displays depend on static, monocular cues. Models of integrating monocular cues may be continuous (additive) or discontinuous. Previous research using simple displays and a small number of cues supported continuous cue integration. The present research is designed to expand the understanding of how the visual system integrates information from multiple pictorial cues by investigating combinations of one to ten pictorial cues in visually-rich, two-dimensional displays (paintings and photographs). Participants estimated depth in target paintings and photographs relative to a standard two dimensional display. Certain results suggest that the visual system integrates cues in a largely additive way, but after a number of cues are present there may be an additional boost in perceived depth resulting in a best-fittingdiscontinuous model of cue combination. However, this discontinuous effect may be due to designdecisions made by the painters rather than exclusively to the perceptual processes of the viewers. Analyses of these design decisions provide lessons for the design of two-dimensional displays.
41
Lobasheva, Irina F. "Kazan art school and its heritage in the collection of the State museum of fine arts of the Republic of Tatarstan". Historical Ethnology 5, n. 3 (27 novembre 2020): 362–72. http://dx.doi.org/10.22378/he.2020-5-3.362-372.
Testo completoAbstract (sommario):
Kazan Art School is a famous Russian educational institution that became an art educational center in the Volga-Kama Region and the Trans-Urals. In 2020, the school represented by N.I. Feshin Kazan Art College celebrates its 125th anniversary. It was opened under the direct tutelage of the Imperial Academy of Arts (1895) on the initiative of the Academy graduates, natives of the Kazan Region N.N. Belkovich, G.A. Medvedev, H.N. Skornyakov, I.A. Denisov, and Yu.I. Thyssen with the assistance of the city authorities. The historical walls of the school are marked by the teaching and pedagogical contribution of such legendary personalities as N.I. Feshin, P.P. Benkov and B.I. Urmanche, A.M. Rodchenko, P.A. Radimov, P.M. Dulsky, D.D. Burliuk, V.K. Timofeyev and other famous masters of the Russian art. The collection of the State Museum of Fine Arts of the Republic of Tatarstan contains the main artistic heritage of the school of the pre-revolutionary period and the first years of Soviet history (1895–1920s), which is considered in the given article. Conventionally, this legacy consists of three main parts. The main part includes works by the founders, teachers and students of the Kazan Art School. It is a fairly extensive collection of several hundred paintings and graphic works, as well as a small number of sculptural exhibits. The collection gives an opportunity to get acquainted with typical examples of the creative manner of the main representatives of the school. All of them are characterized by a special individuality of the visual language, but a diverse visual range is united by a common culture of vision. The collection is also particularly valuable due to the fact that it presents rare famous examples of the work of such artists as Yu.I. Thyssen, L.F. Ovsyannikov, F.P. Gavrilov, N.I. Mikhailov and others. An art museum operated at the Kazan school, which was created with the active involvement of the Academy of Arts.The museum operates at the school in a transformed form up to the present day. The collection of the Fine Arts Museum of the republic contains the bulk of the works of this collection, which gives an idea of the scale of the Academy of Arts activities to support the school with donated works. There are about 80 of them in total. The names of many are well known in the history of Russian art: I.E. Repin, I.I. Shishkin, A.P. Bogolyubov, K.E. Makovsky, V.V. Mate, A.F. Gausch, F.S. Zhuravlev, A.A. Kiselev, R.F. Franz and others. The museum collection also contains works by the most famous student of the Kazan Art School – Nikolai Ivanovich Feshin (1881–1955), who later was an equally famous school teacher (since 1909). The largest collection of Feshin's works in Russia, including painting, graphics, sculpture, decorative and applied art of the master (over 180 works) is kept in Kazan.
42
Bilson, Tom. "The Courtauld’s Witt and Conway Photographic Libraries: Two approaches to digitisation". Art Libraries Journal 45, n. 1 (gennaio 2020): 35–42. http://dx.doi.org/10.1017/alj.2019.38.
Testo completoAbstract (sommario):
The Courtauld Institute of Art is two years into a digitisation project of the Witt and Conway photograph archives (in addition to other, smaller collections) – a massive project that will make accessible over three million images of works of art from these internationally important photo collections. This article looks closely at the digitisation project and in particular, at the small army of volunteers assembled to carry out the digitisation and how this element of public engagement is essential to the success of the project.
43
Koveshnikov, Alexey, Nina Shiryaeva, Vladimir Naumkin, Karina Bulgakova e Zhanna Silaeva. "The art of arboplastics in the landscape architecture". E3S Web of Conferences 175 (2020): 06004. http://dx.doi.org/10.1051/e3sconf/202017506004.
Testo completoAbstract (sommario):
Arbosculpture in Russia is a developing art form. Nowadays there is a small number of works devoted to this topic in our country. In this regard, the aim of the following work is to study the technology of creating arbosculptures in the conditions of the central region of Russia. The material for creating arbosculptures are woody plants of the following species: Fraxinus excelsior L., Acer platanoides L., Prunus cerasifera Ehrh, Prunus cerasus L. The formation of sculptures takes 5 years or more. The process of the creation includes such stages as – making a sketch design, selection of a breed, planting a seedling (s), trimming, concrescence/ ingrafting, measures for the care and preservation of a given shape.
44
Smith, Pamela H., e Tonny Beentjes. "Nature and Art, Making and Knowing: Reconstructing Sixteenth-Century Life-Casting Techniques*". Renaissance Quarterly 63, n. 1 (2010): 128–79. http://dx.doi.org/10.1086/652535.
Testo completoAbstract (sommario):
AbstractAlmost every Kunstkammer in sixteenth-century Europe contained small reptiles or plants cast from life in a variety of media. This widespread technique, which used small, recently killed animals as a pattern to create lifelike sculptures, was often prized more highly than works sculpted with the hand. An unstudied, late sixteenth-century French technical manuscript records a practitioner's experiments in casting from life, among many other subjects. This article investigates both the techniques and the significance of life-casting on the basis of this treatise, incorporating the examination of surviving sixteenth-century European life casts and the reconstruction of the manuscript's recipes and technical instructions, arguing that life-casting in the sixteenth century was viewed in part as a means to the knowledge of nature.
45
Ridlen, Tim. "Art on Film at Finch College: Reproductive Labor in the Enrichment Economy". Camera Obscura 38, n. 1 (1 maggio 2023): 81–101. http://dx.doi.org/10.1215/02705346-10278600.
Testo completoAbstract (sommario):
Abstract Finch College was a small women's liberal arts college located on the Upper East Side of Manhattan open from 1900 to 1975. The Contemporary Wing of the Finch College Museum of Art held a number of important exhibitions for conceptual art, experimental media, and film organized by the museum's curator, Elayne Varian, from 1966 to 1975. This article addresses how ideas of process, reproduction, and documentation were being reconfigured at Finch, especially in film and media art of the 1960s. Robert Morris's film installation, Finch College Project (US, 1969), is emblematic of this larger turn toward process in the visual arts; however, Varian's Projected Art exhibitions complicate our understanding of how and why artistic process became a subject of interest. In light of what Boltanski and Esquerre have recently identified as an “enrichment economy” and what feminist thinkers of the time theorized as reproductive labor, works in the Projected Art series shift attention to the reproductive labor of caring for, curating, collecting, and consuming visual art and film. I argue that Varian's exhibitions as a whole complicate our understanding of process-oriented work during the postwar period, especially film and media that moved into gallery exhibition spaces. These works attacked the existing modes of production by turning toward process, complicating the status of photographic reproduction, and contributing their own surplus value through reproductive labor.
46
Hastjarjo Sumardjan. "COCONUT STEM UTILIZATION IN INDONESIA". CORD 5, n. 01 (1 giugno 1989): 34. http://dx.doi.org/10.37833/cord.v5i01.220.
Testo completoAbstract (sommario):
Coconut stem has been utilized in every coconut producing country in some form or other. Its utilization varies widely from small bridges to houses, furnitures and works of art. In Indonesia it is used mainly in Java, the most densely populated island. In other islands it is rarely used except for foot bridges because of two reasons. First, the farmers are reluctant to fell their coconut trees for its yield, however, small it is. Second, there is still enough supply of forest wood.
47
Stepovyk, Dmytro. "THE ART OF STAINED GLASS BRINGS UKRAINIAN AND POLISH CULTURES TOGETHER (WORKS BY ADAM DOBRZAŃSKI)". Polish Studies of Kyiv, n. 36 (2020): 298–311. http://dx.doi.org/10.17721/psk.2020.36.298-311.
Testo completoAbstract (sommario):
The article highlights the unique work of a prominent Polish master of monumental art, the author of numerous stained glass windows, murals and mosaics of the temples of Poland by Adam Stalony-Dobrzanski (1904-1985), whose father Felix Dobrzanski is a Pole, and mother Anna Kovalenko, a native of Chernihiv, Ukrainian. Dobrzanski spent his youth in Ukraine, and in 1923 he moved with his parents to the restored Polish state; He graduated from the Cracow Academy of Arts and began working in the field of artistic design of Catholic churches, Greek Catholic and Orthodox temples. Feature of Dobzhansky’s creative style is a harmonious combination of ancient medieval Gothic style with the latest styles of Impressionism, Modernism and others; as well as the introduction of inscriptions with the original letter form as an integral part of the stained glass image system. Another noticeable feature of the stained glass windows of Adam Steglovy Dobzhan is the harmony of large and small forms. Of course, he is born, as they say, a monumentalist in the arts. There is greatness in his works. The elongated window openings of the Orthodox, Greek Catholic churches and Roman Catholic churches required verticality. Therefore, this architecture is completely approached by long Gothic stained glass figures. But Dobzhansky would not be Dobzhansky if his age were confined to the composition of tall, sometimes tall, figures. In every large and tall form, he “streams” with many small glasses, in which he writes texts in Latin or Cyrillic letters. This flamboyant scattering of small shapes moves and shimmers like a kaleidoscope, enlivening the statics of the stained glass central figure. Here Dobzhansky presents his knowledge of stained glass. Middle Ages in the Catholic countries of the West, which still amaze the beauty of their kaleidoscopic overflows. There is, of course, a contrast between the large in size and these tiny multicolored glasses. This contrast sends the viewer to the baroque, which maximized the contrast in the riot of flexible forms. These forms do not exist in Mr. Adam’s stained-glass windows, but his contrasts reflect the breadth of the search, a master who crafted his unique language in the field of ancient and modern art styles in the ancient and eternally young stained glass art.
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Irwin, Christa. "Catholic Presence and Power: Jesuit Painter Bernardo Bitti at Lake Titicaca in Peru". Journal of Jesuit Studies 6, n. 2 (21 giugno 2019): 270–93. http://dx.doi.org/10.1163/22141332-00602005.
Testo completoAbstract (sommario):
Bernardo Bitti was an Italian Jesuit and painter who traveled to the viceroyalty of Peru at the end of the sixteenth century to make altarpieces in the service of the order’s conversion campaigns. He began his New World career in Lima, the viceregal capital and then, over a span of thirty-five years, traveled to Jesuit mission centers in cities throughout Peru, leaving a significant imprint on colonial Peruvian painting. In 1586, Bitti was in Juli, a small town on Lake Titicaca in southern Peru, where the Jesuits had arrived a decade prior and continually faced great resistance from the local population. In this paper, I will argue that Bitti’s paintings were tools implemented by the Jesuit missionaries seeking to establish European, Christian presence in the conflicted city. Thus, Bitti’s contribution at Juli can serve as but one example of how the Jesuits used art as part of their methodology of conversion.
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Mubing, Qiu. "Han-era Funerary Art Objects — Works of Bronze. Han-era Bronze Aesthetics". Scientific and analytical journal Burganov House. The space of culture 17, n. 2 (10 giugno 2021): 53–60. http://dx.doi.org/10.36340/2071-6818-2021-17-2-53-60.
Testo completoAbstract (sommario):
Speaking of bronze here we refer to various objects made of bronze which is an alloy composed of pure copper and tin, which contains a small fraction of lead. Because bronze is an alloy, its melting point is at a lower temperature than that of pure copper, but the material itself is harder. Ji jin 1 (吉金)ritual metal vessels, mentioned in ancient Chinese sources are in fact works of bronze. The invention of bronze alloys was an event of epochal historical importance. Thus, the period from the invention of bronze to ubiquitous use of iron is called the Bronze Age. The Bronze Age in China began with the birth of the Chinese civilization. It lasted until the end of Han dynasty and had several stages of development. Works of bronze first appeared in China in slave-owning society of XiaShang (夏商2070 BC), and reached its zenith at the peak of slave-owning system at the end of Shang (商)and the beginning of Zhou. After the end of Chunqiu period (春 秋475 BC) the slave-owning system began to decline, and the production of bronze items dwindled. In comparison to Shang and Zhou (周朝) bronze, Han objects are much smaller in size because during this period their primary purpose was to be used in common everyday life. Mystical, solemn and even somewhat barbaric bronze of Shang and Zhou was replaced by modest, practical and convenient household utensils.
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Yahr, Jayme. "Disappearing act". Journal of the History of Collections 32, n. 1 (17 dicembre 2018): 157–76. http://dx.doi.org/10.1093/jhc/fhy042.
Testo completoAbstract (sommario):
Abstract The American self-made businessman Daniel J. Terra (1911–1996) collected art as a testament to his patriotism and in an attempt to establish his cultural prowess. Between 1971 and his death in 1996, Terra amassed a collection of 605 paintings, works on paper, and sculpture, made possible by a small network of art dealers who aided Terra in his rapid transformation of the American art market. After a failed attempt to donate his collection to the Art Institute of Chicago, Terra created not one, but two museums in Illinois and one in France over the course of twelve years. Each Terra-backed museum struggled to find visitors, structures of support, and strategic vision while under his control. With the disappearance of each museum, the story of Terra’s art collection became inexorably intertwined with concepts of value, identity, and the physical shift from private hobby to public endeavour.