Gotowe bibliografie tematyczne / Naturalism in art

Gotowa bibliografia na temat „Naturalism in art”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "Naturalism in art"

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Barbosa Ribeiro, Marta, i Joana Brites. "Rethinking the stylistic categories of Portuguese 19th century sculpture: the work of António Teixeira Lopes". Ars Longa. Cuadernos de arte, nr 26 (1.02.2018): 157. http://dx.doi.org/10.7203/arslonga.26.10961.

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This paper aims to rethink 19th century Portuguese sculpture’s stylistic categories from the analysis of the work of António Teixeira Lopes, who is considered the major representative of naturalism in this country. First, the concept of naturalism in Portuguese art history is examined, with a critical characterization of its separation from romanticism (contrasting with mainstream literature) and demonstrating that its emergence from painting research and its adoption in sculpture is inoperative when observing a concrete art work. Secondly, with the Portuguese art reality as a backdrop, Teixeira Lopes’ academic and professional life is contextualised. Finally, based on the analysis of the sculptor’s work and the knowledge of his methods and views on art, the labelling of Lopes as a naturalist is questioned and the necessity for a less compartmentalized understanding of 19th century art is stressed.
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Nurjannatunaimah, Nurjannatunaimah, Triyono Widodo i Swastika Anggriani. "Pemandangan Alam Tiris Kabupaten Probolinggo sebagai Ide Penciptaan Karya Seni Lukis Naturalisme". JoLLA: Journal of Language, Literature, and Arts 3, nr 7 (30.07.2023): 1004–21. http://dx.doi.org/10.17977/um064v3i72023p1004-1021.

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Alam Tiris Kabupaten Probolinggo memiliki objek keindahan dan pariwisata yang sangat beragam, seperti hamparan perkebunan teh Gambir, arung jeram Sungai Pekalen, Danau Ranu Agung, dan berbagai air terjun. Kecamatan Tiris terletak di Kabupaten Probolinggo dan berada di ketinggian 700 hingga 1000 mdpl. Karya seni lukis naturalisme dengan objek pemandangan alam Tiris diciptakan untuk menuangkan kekaguman pencipta terhadap keindahan alam dan sebagai upaya untuk memperkenalkan keindahan alam Tiris Kabupaten Probolinggo kepada masyarakat umum. Proses penciptaan karya seni lukis naturalisme menggunakan teori penciptaan seni oleh M. Alma Hawkins yang memiliki tiga tahapan, yakni tahap eksplorasi, improvisasi, dan pembentukan atau forming. Bentuk visual dari karya yang dihasilkan adalah karya seni rupa dua dimensi dengan objek yang sepenuhnya terinspirasi dari keindahan alam Tiris dengan mengemban prinsip perspektif, skala, komposisi dengan teknik goresan ekspresif dan finger painting. Penciptaan karya seni lukis menghasilkan enam karya naturalisme, yakni dengan judul (1) Lili air Ranu Agung, (2) Aliran Sungai Pekalen, (3) Argopuro dan Hamparan Teh, (4) Sudut Ladang, (5) Air Terjun Mukjizat yang Tersembunyi, dan (6) Ranu Agung dan Gunung Lemongan. Hasil penciptaan lukisan ini diharapkan dapat memberikan gambaran kepada masyarakat tentang keindahan alam Tiris Kabupaten Probolinggo. Kata kunci: Tiris Probolinggo, seni lukis, naturalisme The Panorama of Tiris Probolinggo Regency as an Idea for the Creation of Naturalism Painting Tiris Probolinggo Regency has very diverse beauty and tourism objects, including the expanse of the Gambir tea plantation, Pekalen River rafting, Lake Ranu Agung, and waterfalls, many of which are still unknown. Tiris District is located in Probolinggo Regency and is located at an altitude of 700 to 1000 meters above sea level. Naturalism painting works with natural landscape objects of Tiris were created to express the creator's admiration for the existing natural beauty as well as an effort to introduce the natural beauty of Tiris - Probolinggo to the wider community. The process of creating works of naturalism painting uses the theory of art creation by M. Alma Hawkins which has three stages, including the stages of exploration, improvisation, and forming. The visual form of the work produced is a two-dimensional work of art with objects fully inspired by the natural beauty of Tiris by carrying out the principles of perspective, scale, composition using expressive stroke techniques and finger painting. The creation of works of art resulted in six works of naturalism with the titles (1) Water lilies Ranu Agung, (2) Stream of the Pekalen River, (3) Argopuro and Expanse of Tea, (4) Angles of Fields, (5) Hidden Miracle Waterfall, and (6) Ranu Agung and Mount Lemongan. The results of the creation are expected to provide an overview to the public about the natural beauty of Tiris Probolinggo Regency. Keyword: Tiris Probolinggo, painting, naturalism
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Kim, Jeong-eun. "The Meaning of ‘Naturalism’ in Korean Art Discourse: Focusing on Kim Won-yong’s ‘Naturalsim’ and Lee Yil’s ‘Pan-naturalism’". Journal of Aesthetics & Science of Art 71 (28.02.2024): 118–36. http://dx.doi.org/10.17527/jasa.71.0.06.

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Dorohan, Ilona, Olha Boiko, Kateryna Kyrylenko, Svitlana Oborska i Olha Shandrenko. "Naturalistic inquiries of M. Bashkirtseva as an artist: Synthesis of literature and art". Scientific Herald of Uzhhorod University Series Physics 2024, nr 55 (21.12.2023): 1743–50. http://dx.doi.org/10.54919/physics/55.2024.174vp3.

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Relevance. Maria Bashkirtseva�s multifaceted approach as an artist and memoirist was significant in the formation of the French naturalism movement. Her integration of literary influences, particularly from Dostoevsky, with her artistic expression provides a unique perspective on the interaction between literature and painting in the late 19th century.Purpose. This study aims to explore Bashkirtseva�s role in developing naturalism through her artwork and diaries, emphasizing her innovative synthesis of literary and artistic elements.Methodology. A comprehensive analysis of Bashkirtseva�s paintings, diaries, and personal letters was conducted to trace her artistic evolution and literary influences. The study also examines critical receptions and scholarly works on her contribution to art and literature, alongside a detailed examination of her personal educational background.Results. The research highlights several key periods in Bashkirtseva�s career where her artistic direction significantly intersected with literary themes, particularly those of naturalism. Her work not only reflects her personal experiences and societal observations but also illustrates a deliberate blending of narrative depth with visual realism.Conclusions. Bashkirtseva�s contributions were instrumental in shaping the narrative and aesthetic dimensions of French naturalism. Her ability to infuse literary naturalism into her visual art marks her as a pivotal figure in the integration of these cultural domains. The study reaffirms her status as a crucial link in understanding the evolution of modern European art and literature.
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Abadía, Oscar Moro, Manuel R. González Morales i Eduardo Palacio Pérez. "‘Naturalism’ and the interpretation of cave art". World Art 2, nr 2 (wrzesień 2012): 219–40. http://dx.doi.org/10.1080/21500894.2012.689258.

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Killin, Anton. "Defending scientific naturalism in philosophy of art". Metascience 29, nr 2 (25.05.2020): 289–92. http://dx.doi.org/10.1007/s11016-020-00528-w.

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Ossewaarde, Ringo, Tatiana Filatova, Yola Georgiadou, Andreas Hartmann, Gül Özerol, Karin Pfeffer, Peter Stegmaier i in. "Review article: Towards a context-driven research: a state-of-the-art review of resilience research on climate change". Natural Hazards and Earth System Sciences 21, nr 3 (26.03.2021): 1119–33. http://dx.doi.org/10.5194/nhess-21-1119-2021.

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Abstract. The twofold aim of this paper is to provide an overview of the current state of resilience research with regard to climate change in the social sciences and propose a research agenda. Resilience research among social scientists is characterized by much more diversity today than a few decades ago. Different definitions and understandings of resilience appear in publications during the last 10 years. Resilience research increasingly bears the mark of social constructivism, a relative newcomer compared to the more long-standing tradition of naturalism. There are also approaches that are indebted to both “naturalism” and “constructivism”, which, of course, come in many varieties. Based on our overview of recent scholarship, which is far from being exhaustive, we have identified six research avenues that arguably deserve continued attention. They combine naturalist and constructivist insights and approaches so that human agency, reflexivity, and considerations of justice and equity are incorporated into systems thinking research or supplement such research. Ultimately, we believe that the overarching challenge for future research is to ensure that resilience to climate change does not compromise sustainability and considerations of justice (including environmental, climate, and energy justice).
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Gawronski, Alexander. "Art as Critique under Neoliberalism: Negativity Undoing Economic Naturalism". Arts 10, nr 1 (4.02.2021): 11. http://dx.doi.org/10.3390/arts10010011.

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This essay considers the possibilities of contemporary art as a viable medium of socio-political critique within a cultural terrain dominated by naturalised neoliberal economics. It begins by considering the centrality of negativity to the historical project of critical theory most forcefully pursued by Adorno as ‘negative dialectics.’ Subsequent varieties of postmodern critique fairly dispensed with dialectics variously favouring complexity and an overriding emphasis on textuality. With the birth of neoliberalism and its burgeoning emphasis on ‘the contemporary’, economic values begin to penetrate every aspect of contemporary life and experience, including art and culture. Contemporary capitalism dematerialised as financialisation now comprises a naturalised ambience that is both everywhere and nowhere. Capitalist ambience is echoed in contemporary art that suggests criticality and yet seems to side with the imagery, values and logics of the prevailing financial order. The naturalisation of the neoliberal order is further internalised by artists online. Exacerbated contemporary emphasis on the ‘self as entrepreneur’ coincides with the biopolitical transformation of the contemporary artist into an individual ‘enterprise unit’. This is particularly observable online on social media where an artist’s whole life is simultaneously the subject and object of art. Criticality in art does not disappear but becomes ‘self-annulling’: it acts as a conduit questioning the commodity-identity of art while pointing to phenomena and affects outside the art world. With the recent appearance of the COVID-19 virus, added to the unignorable impact of global climate change, ‘real nature’ assumes a critical role, undermining neoliberalism’s ideological naturalisation while laying-bare the extent of its structural contradictions. Art criticality is revivified by divesting from art contexts saturated with neoliberal imperatives. Criticality is negatively practiced as an ‘un-’ or ‘not-doing’, defining modes of exodus while, crucially, not abandoning art’s institutional definition altogether.
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Consoli, Gianluca. "Aesthetic Value and Aesthetic Judgment". Aesthetic Investigations 4, nr 1 (31.12.2020): 112–21. http://dx.doi.org/10.58519/aesthinv.v4i1.11928.

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Contemporary aesthetic naturalism integrates various scientific approaches into the common effort to provide an explanation of the main topics of aesthetics on the basis of empirical methods or in line with available evidence. Although these approaches have recently achieved very relevant empirical and theoretical results, contemporary aesthetic naturalism still does not solve the traditional hard problem of naturalism as such, that is the explanation of value in scientific terms. Firstly, I analyse the possible responses to this hard problem, showing that aesthetic value, particularly in the version of artistic value, remains outside the scope of current empirical approaches to aesthetics. Then I propose that this apparently strong philosophical limitation can be easily reduced to an ordinary epistemological limitation if aesthetic naturalism accepts to improve the interaction with art criticism, the discipline in the humanities characterised by a privileged access to the historical and social reasons that justify aesthetic judgments.
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Karbalaeetaher, Hossein Shahin. "Cinema And Society In The Light Of Emile Zola’s Naturalism". CINEJ Cinema Journal 8, nr 1 (11.03.2020): 141–55. http://dx.doi.org/10.5195/cinej.2020.244.

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

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Taschian, Helen. "Naturalism and Libertinism in Seventeenth-Century Italian Painting". Thesis, University of California, Santa Barbara, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3612041.

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The work of Caravaggio, which was recognized as revolutionary in his own time and exerted a profound influence on seventeenth century painting all over Europe, has prompted a wide range of interpretations among modern art historians. Some, emphasizing the controversy generated by his religious pictures, have seen him as a daringly irreverent artist, while others have found his unidealized "naturalistic" style fundamentally well-suited to the spirit of the Catholic Counter-Reformation. Some detect a boldly overt homoeroticism in many of his pictures, while others claim not to see it at all. Some understand him to have worked in an unprecedentedly direct, almost visceral way, while others emphasize his sympathy with new directions in the sciences or the intellectual sophistication with which he played his naturalistic style against the precedents of classical and earlier Renaissance art.

Caravaggio's difficult personality has also lent itself to different readings. Some see him as a sociopath, if not a psychopath, while others see him calculatedly performing the role of social rebel in a manner that looks forward to the self-consciously dissident posturings of modern artists. Some art-historians have been led to conclude that he had highly-developed non-conformist values and tendencies that could be described as "libertine" in at least some of the varied senses in which that word was used during his time.

The aim of this dissertation is to discuss the relation of Caravaggio's work and personal example to his immediate art-historical and cultural context, but also to trace their influence on an ever-more-disparate group of artists active in the seventeenth century in order to see whether his style, sometimes characterized as "Baroque Naturalism," actually implied a set of values beyond its efficacy as an artistic strategy, whether a commitment to it implied or was understood to imply a non-conformist or libertine orientation that might be a matter of deep conviction on the part of the artist or a position felt to be appropriate to certain themes or in certain contexts.

The first chapter examines Caravaggio himself, while the second discusses three artists—Giovanni Baglione, Orazio Gentileschi, and Guido Reni—who knew him personally and responded to his work as it burst so dramatically on the scene in the very first years of the century. The third chapter discussed three artists who were active shortly afterward, whose engagement with Caravaggio testifies to a wider field of influence: Valentin de Boulogne, Domenico Fetti, and Guido Cagnacci. The final chapter sets two very different artists—Salvator Rosa and Nicolas Poussin—side by side in order to expose both the radically different responses to Caravaggio's legacy and the diverse senses in which the word "libertine" must be understood.

While the evidence does seem to suggest that at least some artists utilized Caravaggesque naturalism in order to invoke a well-defined "alternative tradition," one that was understood to imply a certain range of values, very few committed themselves to his approach strictly or for very long. Poussin rejected it emphatically. Yet Poussin, too, deliberately positioned himself on the margins of the Roman art world in order to cultivate a distinctive approach to art, one that seems to have been consciously based on deeply-held philosophical convictions. The lesson seems to be that Caravaggio's example made it possible for later artists to develop strategies with which to express their dissent from the prevailing values and practices of their time, and that even if their work did not look like his, they were indebted to him.

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Brewer, Rhett, of Western Sydney Nepean University, of Performance Fine Arts and Design Faculty i School of Design. "Paint, painters and primary perception". THESIS_FPFAD_SD_Brewer_R.xml, 1996. http://handle.uws.edu.au:8081/1959.7/300.

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This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reasons why any painter wishing to attempt it, should do so. Some associated issues are raised in the course of the investigation: 1/. An investigation of perception of nature. 2/. The role of language in shaping our perceptions of nature. 3/. The inability of language itself to capture a satisfactory recreation of the experience of nature. 4/. An examination of Paul Cezanne's attempts to record nature using his empirical optical method. 5/. An examination of Barnett Newmans's attempts to recreate the experience of nature through the use of symbols. 6/. The work of the phenomenologists with regard to nature and painting. 7/. The problem of aesthetics. 8/. The apparent reluctance of many critics and theoreticians to take the importance of nature as a vital and indispensable starting point for some artists
Master of Arts (Hons)
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Vacquier, Stéphane. "Rebeyrolle, Paul (1926-2005) : peintre français des IVe et Ve républiques". Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3116.

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Tels que l’historiographie de l’art les a enregistrées, l’œuvre de Paul Rebeyrolle et sa carrière (1945-2005) posent question au-delà de cette définition stricte, base factuelle d’une hypothétique notice d’encyclopédie : qu’est-ce qu’un peintre français des IVe et Ve républiques ? Paul Rebeyrolle est connu pour être méconnu, reconnu, toujours, comme un excellent peintre, loué par certains comme l’un des plus importants de la période, en France, mais demeure réduit à la portion congrue de l’histoire de l’art contemporain français, lorsque celle-ci juge bon de le mentionner. Il a pourtant bénéficié d’un succès précoce, dans les années 1950, dans le sillage d’un Bernard Lorjou ou, surtout, d’un Bernard Buffet, avant de subir un désaveu équivalent. Un marchand aussi important qu’Aimé Maeght et des préfaciers aussi renommés que J.-P. Sartre ou M. Foucault n’y auront rien changé. En cela, il est exemplaire de tout un pan de l’art français qui, avec la Ve république et sa politique culturelle, semble avoir été déclassé pour un certain nombre de raisons qu’il reste encore à évaluer : différends esthétiques, mésententes plastiques, dénis hérités de la querelle des abstraits et des figuratifs, non-dits liés à la question de l’engagement politique de l’artiste, imprécisions ou partis-pris critiques et légèreté des commentaires journalistiques friands de poncifs... Autant de malentendus qui ont contribué à brouiller la juste appréciation de son œuvre et l’ont tenu éloigné d’une véritable reconnaissance institutionnelle
The way they’ve been retained by Art historiography, Paul Rebeyrolle’s work and his carreer (1945-2005) appear to be problematic beyond this strict definition, factual basis for an hypothetical encyclopedia entry : what defines a French painter under the 4th and 5th republics ? Paul Rebeyrolle is well-knowed for being under-estimated, always acknowledged as a great painter, sometimes even praised as one of the most important painters of that period, in France, but still limited to the smallest share of the French history of contemporary art, when this one finds it appropriate to mention it.Yet he benefited of an early success, during the 50’s, in the wake of painters such as Bernard Lorjou and especially Bernard Buffet, before enduring a similar disavowal. An art dealer as important as Aimé Maeght and preface writers as renowned as Jean-Paul Sartre or Michel Foucault didn’t make any difference. Thus, he appears to be paradigmatic of an entire part of French art which, under the 5th republic and its cultural policy, seems to have been downgraded for a certain number of reasons that still needs to be evaluated : aesthetic disagreements, plastic discords, denial inherited from the abstract and figurative painters’ quarrel, unsaid things about the artist’s political commitment, art critics’ vagueness and preconceived opinions, journalistic frivolity fond of clichés... As many misunderstandings that led to interfere with a fair appraisal regarding his work and prevented him from ever getting a real institutional recognition
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Rye, Ashley Gail. ""The truth of the life of Christ" spiritualism, naturalism and religious devotion in James Tissot's "The life of our Saviour Jesus Christ" /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 67 p, 2009. http://proquest.umi.com/pqdweb?did=1889099001&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Morton, Mary G. "Naturalism and nostalgia : Hippolyte Taine's lectures on art history at the Ecole des beaux-arts, 1865-1869 /". View online version; access limited to Brown University users, 1998. http://wwwlib.umi.com/dissertations/fullcit/9830497.

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Fonteneau, Estelle. "Marianne Preindlsberger Stokes : les années de formation". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040193.

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Cette thèse dépeint le contexte artistique dans lequel Marianne Stokes évolue des années 1880 au tournant du siècle suivant. Une étude approfondie a été menée, qui permet de retracer ses premières années d’études d’art à Munich et à Paris, puis au sein de plusieurs colonies d’artistes en France, au Danemark et en Angleterre. Afin de restituer le milieu créatif de Marianne Stokes, des textes et des manuels d’histoire de l’art ancien et actuel furent étudiés. D’autres recherches furent entreprises, appuyées sur la correspondance d’artistes camarades de Marianne Stokes, et sur l’étude de leur accueil critique en France et en Angleterre. Des publications de l’époque sont au centre de ces recherches : autobiographie, narration de voyage, et correspondance. Cette thèse comprend aussi des études comparatives de toiles de Mariannes Stokes avec celles de plusieurs de ses contemporains.Nous cherchons à démontrer que l’art de Marianne Stokes est difficilement réductible à un mouvement artistique en particulier, mais présente les qualités de nombreux styles : naturalisme, impressionnisme, symbolisme, décoratif. Evoluant parmi ces nombreux courants artistiques, l’art de Marianne Stokes possède un certain silence, un sentiment de piété qui est la ligne directrice de son œuvre
This dissertation recreates the evolution of Marianne Stokes’ art within the context of her artistic milieu from 1880 to the turn of the century. These studies concern first her early school years in Munich and Paris, and then her years among artist colonies in France, Denmark and England. Stokes’ paintings are compared to those of her contemporaries within the artist colonies. Contemporary texts, such as travel journals, biographies, letters and press articles, are used to accurately reconstruct the artist’s milieu. This thesis demonstrates that Marianne Stokes’ body of work cannot be reduced to a specific artistic movement; instead, the style of her paintings ranges from naturalist, decorative, and impressionist to symbolist. Nevertheless, the paintings of Marianne Stokes maintain one distinctive trait; they express a certain silence, an articulation of the artist’s personal piety
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Morehouse, Dawn M. "Copley's compromise navigating the discourse of beauty and likeness in colonial Boston /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 58 p, 2008. http://proquest.umi.com/pqdweb?did=1597629701&sid=23&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Palumbo, Carmen. "A Amazônia como lugar de conflito: o caso do Naturalismo Integral". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-05122018-094311/.

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Nessa dissertação, a viagem-expedição ao Rio Negro, realizada por Pierre Restany, Frans Krajcberg e Sepp Baendereck em 1978, e a análise das circunstâncias que levaram à escrita do Manifesto do Naturalismo Integral, são tomados como ponto de partida para refletir sobre a atuação do crítico Pierre Restany no processo de internacionalização da arte latino-americana nos anos 1960 e 1970. Com foco no contexto brasileiro, concentrado no eixo São Paulo - Rio de Janeiro, a recepção negativa do manifesto pela classe intelectual brasileira será analisada a partir de documentos da época conservados no Fundo Pierre Restany dos Archives de la Critique dArt (Rennes-França) e das matérias jornalísticas publicadas nos jornais da época. Procuramos analisar as diferentes representações de paisagens presentes nos documentos desaminados e as subjacentes visões da arte: por um lado, a floresta exótica e sublime evocada por Restany através do conceito de choque amazônico e sua inserção na teorização de uma arte planetária e internacional e, por outro, a Amazônia enquanto território de luta e resistência no processo de construção da identidade brasileira nos escritos daqueles autores que, como Francisco Bittencourt, Mário Pedrosa e Frederico Morais, pleitearam a afirmação de narrativas historicamente subalternizadas, contribuindo à criação de uma gnose liminar, ou seja, de um novo lugar de enunciação na história da arte.
In this dissertation, the voyage-expedition to the Rio Negro, realized by Pierre Restany, Frans Krajcberg e Sepp Baendereck in 1978, and the analysis of the circumstances which led to the writing of the Manifesto of Integral Naturalism, is taken as a starting point for reflecting on the performance of the critic Pierre Restany in the process of internationalization of Latin American art in the 60s and 70s. With a focus on the Brazilian context, concentrated in the São Paulo - Rio de Janeiro axis, the negative reception of the manifesto by the Brazilian intellectual class will be analyzed from original documents preserved in the Pierre Restany Fund dos Archives de la Critique dArt (Rennes-France) and chronicles published in the newspapers of the time. We aim to analyze the different representations of landscape present in the documents examined and the underlying differents views of art: on the one hand, the exotic and \"sublime\" forest evoked by Restany through the concept of \"Amazonian shock\" and its insertion in the theorization of a planetary and internacional art, and, on the other, the Amazon as a territory of struggle and resistance in the process of constructing the Brazilians identity in the writings of those authors who, like Francisco Bittencourt, Mário Pedrosa and mFrederico Morais, undertook to the affirmation of historically subordinate narrations, contributing to the creation of a \"border gnosis\", that is, of a new place of enunciation in the history of art.
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Brewer, Rhett. "Paint, painters and primary perception". Thesis, View thesis, 1996. http://handle.uws.edu.au:8081/1959.7/300.

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This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reasons why any painter wishing to attempt it, should do so. Some associated issues are raised in the course of the investigation: 1/. An investigation of perception of nature. 2/. The role of language in shaping our perceptions of nature. 3/. The inability of language itself to capture a satisfactory recreation of the experience of nature. 4/. An examination of Paul Cezanne's attempts to record nature using his empirical optical method. 5/. An examination of Barnett Newmans's attempts to recreate the experience of nature through the use of symbols. 6/. The work of the phenomenologists with regard to nature and painting. 7/. The problem of aesthetics. 8/. The apparent reluctance of many critics and theoreticians to take the importance of nature as a vital and indispensable starting point for some artists
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Väkevä, L. (Lauri). "Kasvatuksen taide ja taidekasvatus:estetiikan ja taidekasvatuksen merkitys John Deweyn naturalistisessa pragmatismissa". Doctoral thesis, Oulun yliopisto, 2004. http://urn.fi/urn:isbn:9514273109.

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Abstract John Dewey has been widely accepted as a modern classic in educational philosophy. Dewey's general philosophy has gained new interest lately, as well. This interest reflects both a need to find alternatives for analytic and continental philosophies, as well as a need for a naturalistic critique of the modernist presuppositions of Cartesian and transcendental philosophies. Dewey's reconstructive philosophy has encouraged the approach of this study. The reconstructive approach combines the synchronic and diachronic analyses of philosophical concepts with a pragmatist critique that trusts in the power of philosophy to guide human practice. The possibility of such pragmatist critique explains the central role of pedagogy in Dewey's philosophy: Dewey saw pedagogy as a social laboratory where philosophical concepts are tested for their pragmatic potential in enhancing democratic cultural formation. The present study is guided by the central idea that the naturalistic outlook of Dewey's mature philosophy can serve as a thematic framework for contemporary philosophies of art and music. Recent readings of Dewey's work suggest important links between his pedagogy and aesthetics. If Dewey's later philosophy is examined systematically, it becomes clear that his concept of (a)esthetic experience has an important summative function; it unifies his ideas concerning epistemology, ontology, and moral theory in a "soft" naturalistic anthropologic-pedagogical perspective. Dewey finds the core of existence in the process of human growth where experience is continually transformed into culture through communicative practice. Ideally, human growth involves both an immediate, aesthetic dimension, as well as a mediated, instrumental dimension. An important function of art is to bring out the aesthetic moments of growth. With this thesis in mind, Dewey radically extends his concept of art to comprise all cultural practices that balance their means with their ends. Art educates as it is worked out in means-ends-praxis, that is, in social practice that aims both at mediate and immediate good. In the framework of Dewey's naturalistic pragmatism, art education has two crucial functions: (1) to work out the possibilities of aesthetic expression and perception in a pragmatic process of learning by doing; and 2) to point out the paradigmatic moments of meaning making in the best of art. To the philosophers of music education, Dewey's philosophy can open up a new critical horizon where both aesthetic and praxial outlooks can meet in the experimental terms of naturalistic pragmatism
Tiivistelmä John Deweyn asema pedagogiikan klassikkona on tunnustettu jo vuosikymmeniä. Myös Deweyn laajempi filosofia on saanut osakseen uutta kiinnostusta. Tämä kiinnostus liittyy sekä vaihtoehtojen hakemiseen analyyttiselle ja mannermaiselle filosofialle että modernin filosofian kartesiolaisten ja transsendentaalisten lähtökohtien naturalistiseen kritiikkiin. Deweyn filosofialle ominainen rekonstruktiivinen lähestymistapa on innoittanut käsillä olevaa tutkimusta. Rekonstruktiivinen lähestymistapa edellyttää filosofisten käsitysten synkronisen ja diakronisen analyysin ohella pragmatistista kritiikkiä, johon liittyy luottamus filosofian voimaan ohjata inhimillisiä käytäntöjä. Pragmatistisen kritiikin mahdollisuus selittää pedagogiikan keskeisen aseman Deweyn filosofiassa. Deweylle kasvatus on laboratorio, joka tarjoaa mahdollisuuden koetella filosofisten käsitysten pragmatistista toimivuutta demokraattisen kulttuurin rakennusaineina. Tämän tutkimuksen temaattisena johtolankana toimii ajatus Deweyn myöhäiskauden naturalistisen pragmatismin soveltuvuudesta oman aikamme taide- ja musiikkikasvatusfilosofiseksi tarkastelutavaksi. Uudemmassa Dewey-tutkimuksessa onkin tuotu esiin Deweyn estetiikkaan ja pedagogiikan välisiä yhtymäkohtia. Tarkasteltaessa Deweyn myöhäiskauden filosofiaa kokonaisuutena, mikä on tämän työn tavoitteena, on lisäksi helppo huomata, että esteettisen kokemuksen käsitteellä on tärkeä asema hänen tiedonfilosofiansa, ontologiansa ja moraalifilosofiansa täydentäjänä. Deweylle inhimillisen eksistenssin ytimessä on kasvuprosessi, jossa kokemuksesta muovataan demokraattista kulttuuria kommunikatiivisessa toiminnassa. Tähän pragmatistiseen merkityksen tuoton prosessiin (ja siihen liittyvään pedagogiseen projektiin) liittyy parhaimmillaan esteettinen ulottuvuus. Kasvu sulkee sisäänsä sekä välineellisiä että välittömästi koettuja momentteja. Taiteen tärkeänä tehtävänä on tuoda esiin kasvuprosessiin liittyviä esteettisiä momentteja osana pragmaattista merkityksen tuottoa. Taide käsittääkin Deweylla kaiken kulttuurisen toiminnan, johon liittyy keinojen ja päämäärien välinen tasapaino. Kasvattavana toimintana taide on means-ends-praksista, keinonsa ja päämääränsä tasapainottavaa yhteiskunnallista käytäntöä, joka pyrkii samanaikaisesti sekä välilliseen että välittömään hyvään. Taidekasvatukselle jäsentyy Deweyn naturalistisessa pragmatismissa kaksi päätehtävää: (1) harjoituttaa esteettisen ilmaisun ja havainnon mahdollisuuksia pragmaattisessa tekemällä oppimisessa ja (2) osoittaa taiteissa kulminoituvia inhimillisen merkityksentuoton paradigmaattisia momentteja. Musiikkikasvatusfilosofeille Deweyn filosofia voi avata uuden kriittisen horisontin, jossa sekä perinteinen esteettinen näkökulma että uudempi praksiaalinen näkökulma voivat kohdata toisensa naturalistisen pragmatismin eksperimentaalisessa viitekehyksessä
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Książki na temat "Naturalism in art"

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Laurenti, Stefania. Arte e naturalismo in Giotto. Roma: EdUP, 2017.

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1884-1956, Wolfsfeld Erich, Laserstein Lotte 1898-, Meyer Gottfried 1911-, Stroude Caroline i Thos. Agnew and Sons Ltd., red. Erich Wolfsfeld, Lotte Laserstein, Gottfried Meyer: 5th December 1990 to 4th January 1991. London: The Gallery, 1990.

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Friant, Émile. Émile Friant: Le dernier naturaliste? : 1863-1932. Nancy: Musée des beaux-arts de Nancy, ville de Nancy, 2016.

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Bustos, Hermenegildo. Hermenegildo Bustos, 1832-1907. [México]: Museo Nacional de Arte, 1993.

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Viazzi, Cesare. Cesare Viazzi e il verismo. Alessandria: Edizioni dell'orso, 1991.

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Redau, Christiane. Scandinavian painters: Impressionism and naturalism at the turn of the century. Germany: Artbook International, 1992.

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1936-, Llorens Serra Tomás, i Museo Thyssen-Bornemisza, red. El naturalismo y la vida moderna. Madrid]: Museo Thyssen-Bornemisza, 2008.

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Uffizi, Galleria degli, red. Puro, semplice e naturale: Nell'arte a Firenze tra cinque e seicento. Firenze, Italia: Giunti Editore, 2014.

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Ravensburg, Kunstmuseum, red. Ich bin eine Pflanze: Naturprozesse in der Kunst. Bielefeld: Kerber Art, 2015.

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Stokes, Sims Lowery, D'Alton Martina i Museum of Arts and Design (New York, N.Y.), red. Dead or alive. New York: Museum of Arts and Design, 2010.

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Części książek na temat "Naturalism in art"

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Pickering, Kenneth, i Jayne Thompson. "Moscow Art Theatre". W Naturalism in the Theater, 145–61. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-32911-0_8.

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Väkevä, Lauri. "Locating Cultural Naturalism". W Considering Deweyan Cultural Naturalism as a Philosophy of Art(s) Education, 31–56. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-38817-0_2.

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Macarthur, David. "Liberal naturalism and aesthetics: art up close and personal 1". W The Routledge Handbook of Liberal Naturalism, 267–80. London: Routledge, 2022. http://dx.doi.org/10.4324/9781351209472-28.

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Väkevä, Lauri. "Cultural Naturalist Aesthetics, Philosophy of Art, and Art(s) Education". W Considering Deweyan Cultural Naturalism as a Philosophy of Art(s) Education, 57–80. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-38817-0_3.

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Väkevä, Lauri. "Art(s) and Late Modernity". W Considering Deweyan Cultural Naturalism as a Philosophy of Art(s) Education, 1–29. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-38817-0_1.

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Väkevä, Lauri. "Post-philosophical Approaches to (the) Art(s)". W Considering Deweyan Cultural Naturalism as a Philosophy of Art(s) Education, 81–118. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-38817-0_4.

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Väkevä, Lauri. "Art(s) Education Philosophy for the Late Modernity". W Considering Deweyan Cultural Naturalism as a Philosophy of Art(s) Education, 119–50. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-38817-0_5.

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Baka, Evangelia, i Nadia Magnenat Thalmann. "Human—Technology Interaction: The State-of-the-Art and the Lack of Naturalism". W Intelligent Scene Modeling and Human-Computer Interaction, 221–39. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71002-6_13.

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"Naturalism". W The Artist's Reality: Philosophies of Art. Yale University Press, 2004. http://dx.doi.org/10.37862/aaeportal.00129.016.

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"Naturalism in Nature". W Darwin Becomes Art, 85–120. Brill | Rodopi, 2014. http://dx.doi.org/10.1163/9789401210904_004.

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Streszczenia konferencji na temat "Naturalism in art"

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Rum, Maftuhah Rahimah, Ardha Ardea Prisilla, Yori Pusparani, Wen-Hung Chao i Chi-Wen Lung. "Using Machine Learning to Classify Art Style in Naturalism and Realism". W The Kyoto Conference on Arts, Media & Culture 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2436-0503.2023.34.

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Shi, Long. "Study on Naturalism in The Red Badge of Courage". W Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.18.

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Li, Yongxue, i Chengxu Ye. "An Ass Struggling between Idealism and Naturalism. A New Interpretation of qThe Assq by D. H. Lawrence". W 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.76.

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Mrozek, Jaroslaw. "IS THERE RETREAT FROM NATURALISM IN PHYSICS?" W 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b31/s11.078.

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Elhance, Jyotika. "Naturalism and Realism: An Interplay in the Works of Stephen Crane". W The Asian Conference on Arts and Humanities 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2186-229x.2023.34.

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Uskova, Ekaterina. "THE PHISICALIST THEORY OF CONSCIOUSNESS: THE ADVANTAGES OF �NEUROBIOLOGICAL NATURALISM�". W 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/2.2/s09.086.

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Damayanti, Anita, Makruf Akbar i Yufiarti Yufiarti. "The Interaction Effect of Learning Methods and Naturalist Intelligence Toward Children’s Art Creativity". W First International Conference on Technology and Educational Science. EAI, 2019. http://dx.doi.org/10.4108/eai.21-11-2018.2282278.

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BACIU, Ana-Maria, i Angela BODEA. "Realism and naturalism in romanian literature". W Învățământul superior: tradiţii, valori, perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.29-30-09-2023.p236-250.

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Realism and Naturalism are two of the main literary movements in the XIX-th century European Literature. In fact, Naturalism is a form of radical Realism, which appears towards the end of Realism.The most important realis is Honore de Balzac, as Realism appeared in France at the end of the XVIII-teen century due to many political and social events, such as:The French Revolution from 1789, The Revolution between 1830-1831, the impact of Restauration, The Revolution from 1848 and the Industrial Revolution in England. The main goal of realism is to reflect reality as in a mirror. On the other hand, Naturalism is a literary movement developped from Realism as a more brutal reflection of reality, the impact of society and genetic pathologies upon human being.
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Cicoria, Massimiliano. "Legal Subjectivity and Absolute Rights of Nature". W The 8th International Scientific Conference of the Faculty of Law of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/iscflul.8.2.06.

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The anthropocentric approach that characterizes all human knowledge has led to a distortion of the relationship with Nature and a view of it as a mere object of law. This approach, presumably originating with Socrates, had solid support in Plato, Aristotle, Ptolemy, and finally, in Catholic patristics, hinging on all disciplines starting from philosophy, psychology, economics, up to law. Dwelling on the latter, examples of legislation that qualify Nature as an object of law are, increasingly over time, the Forest Charter of 1217, the Italian Law No. 1766 of 1927 on civic uses, and furthermore – Art. 812 of the Italian Civil Code, and finally – the cd. Consolidated Environmental Law. This view is, however, changing in some states such as Bolivia, New Zealand, India, Ecuador, Uganda, – the states that through either legislative acts or rulings of supreme courts have begun the process of granting both to Mother Earth in general, and rivers in particular, the status of juridical persons which are endowed with series of very personal rights, which are recognized. This is not the case in Europe, where the relevant legislation continues to consider Nature (or, better, the Environment) as an object of law, therefore as a “thing” from which to draw, albeit within certain limits, utilities of all kinds. By analysing legal instruments potentially useful for a Copernican revolution on this point – in particular, the Kelsenian concept of “legal person”, the meaning of “company” and the European provisions on Artificial Intelligence – the first conclusion is reached: in a relationship that is not only theoretical, but also practical and utilitarian, it would be opportune to start considering, also through acknowledgments in constitutional sources, the Nature as a subject and no longer an object of rights. In this regard, following the general theories of people’s rights, it could be granted certain absolute rights, of which the right to water, restoration and biodiversity are examined in the current article. Hence, we come to the second conclusion, namely, the contrasts that, in Western law, such an approach could suffer, analysing in particular the problems of neo-naturalism and representation.
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Mashrabov, Zokirjon. "BABUR: THE TOURIST AND NATURALIST SCIENTIST". W The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/rayb8612.

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This article delves into theperspectives of Zahirad-Din Muhammad Babur Mirza regarding his profound insights into the realm of natural science. His comprehensive observations on this subject are extensively documented in his encyclopedic work, "Baburnama".Through a meticulous examination of his writings, it becomes evident that Babur Mirza was not only a perceptive tourist but also a keen naturalist. His travels across Mowarounnahr, Afghanistan, and India revealed his in-depth study of the geography, natural resources, and the intricate geological and seismological processes in these regions. Thus, Babur Mirza emerges as a sharp-witted scholar who made significant contributions to our understanding of the natural world during his remarkable journeys.
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Raporty organizacyjne na temat "Naturalism in art"

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Näslund-Hadley, Emma. Un comienzo igual: La enseñanza de la matemática y las ciencias naturales en América Latina y el Caribe. Inter-American Development Bank, lipiec 2010. http://dx.doi.org/10.18235/0006144.

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Esta muestra de arte encarna las esperanzas y aspiraciones de que todos los estudiantes alcancen el nivel de aptitud numérica que es esencial para una participación provechosa en la escuela, en el trabajo y en la vida cotidiana. Merced al trabajo manual y la visión de artistas de la región, esperamos despertar interés en la matemática y las ciencias naturales como aptitudes básicas que nuestros niños necesitan. En las sociedades de hoy, en las que el conocimiento es fundamental, la comprensión de los conceptos y teorías numéricas básicas y la capacidad de estructurar y resolver interrogantes científicas son más importantes que nunca. Los conocimientos de la matemática y las ciencias naturales que alguna vez sólo necesitaron unos pocos, ahora son necesarios para obtener empleo en la economía global de hoy.
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Tyson, Paul. Sovereignty and Biosecurity: Can we prevent ius from disappearing into dominium? Mέta | Centre for Postcapitalist Civilisation, 2021. http://dx.doi.org/10.55405/mwp3en.

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Drawing on Milbank and Agamben, a politico-juridical anthropology matrix can be drawn describing the relations between ius and bios (justice and political life) on the one hand and dominium and zoe (private power and ‘bare life’) on the other hand. Mapping movements in the basic configurations of this matrix over the long sweep of Western cultural history enable us to see where we are currently situated in relation to the nexus between politico-juridical authority (sovereignty) and the emergency use of executive State powers in the context of biosecurity. The argument presented is that pre-19th century understandings of ius and bios presupposed transcendent categories of Justice and the Common Good that were not naturalistically defined. The very recent idea of a purely naturalistic naturalism has made distinctions between bios and zoe un-locatable and civic ius is now disappearing into a strangely ‘private’ total power (dominium) over the bodies of citizens, as exercised by the State. The very meaning of politico-juridical authority and the sovereignty of the State is undergoing radical change when viewed from a long perspective. This paper suggests that the ancient distinction between power and authority is becoming meaningless, and that this loss erodes the ideas of justice and political life in the Western tradition. Early modern capitalism still retained at least the theory of a Providential moral order, but since the late 19th century, morality has become fully naturalized and secularized, such that what moral categories Classical economics had have been radically instrumentalized since. In the postcapitalist neoliberal world order, no high horizon of just power –no spiritual conception of sovereignty– remains. The paper argues that the reduction of authority to power, which flows from the absence of any traditional conception of sovereignty, is happening with particular ease in Australia, and that in Australia it is only the Indigenous attempt to have their prior sovereignty –as a spiritual reality– recognized that is pushing back against the collapse of political authority into mere executive power.
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LATCO International: Boosting Poor Farm Communities in Bolivia. Inter-American Development Bank, styczeń 2011. http://dx.doi.org/10.18235/0006279.

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Farmland is not the challenge for poor, small growers in Bolivia's Santa Cruz region. Many have access to plots of arable land. Their challenge is getting credit to buy seeds and hire labor to cultivate enough land with good yields to climb out of poverty.Bolivia's leading sesame exporter, Alimentos Naturales LATCO International S.A., has strong and rising demand for the sesame Santa Cruz's farmers grow. The company lends to small farmers to buy seeds. To produce and earn more, however, small farmers at the base of the pyramid need more money and know-how. With a $2.1 million loan from Opportunities for the Majority Initiative (OMJ) LATCO will expand, and incorporate more small farmers into its supply chain. LATCO will provide financing and technical assistance to start or expand sesame cultivation, with a view to transfer bulking and other operations to small farmers so they can take a step forward in the value chain and create a sustainable source of income.
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Microbial Evolution: This report is based on a colloquium convened by the American Academy of Microbiology on August 28-30, 2009, in San Cristobal, Ecuador. American Society for Microbiology, sierpień 2011. http://dx.doi.org/10.1128/aamcol.28aug.2009.

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The year 2009 marked both the 200th anniversary of Darwin's birth and the 150th anniversary of the publication of his landmark book, On the Origin of Species. In August 2009, to celebrate these milestones, the American Academy of Microbiology convened a colloquium in the Galapagos Islands, where Darwin made some of his most crucial observations, to consider a new question: what would Darwin have made of the microbial world? The ability to sail to remote sites like the Galapagos, and access to specimens collected by himself and other avid naturalists, gave Darwin the information he needed to develop a conceptual framework for understanding life's visible diversity. Today, new discoveries and technical capabilities in microbiology are providing information that for the first time makes it possible to develop a conceptual framework for deepening our understanding of the diversity of the microbial world. Darwin focused his attention on visible life forms, which actually make up only a small fraction of the living world—the invisible world of microorganisms was as yet largely unexplored in his time. Yet Darwin's theory has proven remarkably robust; despite some fundamental differences between microorganisms and the rest of the living world, the two lynchpins of Darwin's theory—descent with modification and natural selection—have proven as powerful in explaining microbial evolution as they have in explaining macrobial evolution. Since Darwin, the advent of Mendelian Genetics and the Modern Synthesis have provided a wealth of new tools to evolutionists; these tools are also of fundamental importance in the modern study of microbiology. The scientists gathered at the colloquium considered two fundamental questions: ▪ Is the balance of evolutionary mechanisms, for example natural selection or drift, or individual and group selection, consistent among microbes and similar between microbes and macrobes? ▪ How are the mode and tempo of microbial evolution influenced by Earth's diversity of environments, and the changing global environment, and how are microbes themselves driving these changes? The colloquium provided an opportunity for individuals with expertise in evolutionary biology, genetic engineering, mycology, virology, microbial ecology, and other fields to discuss these issues and review the areas in which research is needed to fill gaps in our understanding.
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