Francis Bacon: the Logic of Sensation
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Supplementary Information For
1 2 Supplementary Information for 3 Dissecting landscape art history with information theory 4 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 5 Hawoong Jeong 6 E-mail:[email protected] 7 Seung Kee Han 8 E-mail:[email protected] 9 This PDF file includes: 10 Supplementary text 11 Figs. S1 to S20 12 Tables S1 to S2 13 References for SI reference citations www.pnas.org/cgi/doi/10.1073/pnas.2011927117 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 1 of 28 14 Supporting Information Text 15 I. Datasets 16 A. Data curation. Digital scans of landscape paintings were collected from the two major online sources: Wiki Art (WA) (1) 17 and the Web Gallery of Art (WGA) (2). For our purpose, we collected 12,431 landscape paintings by 1,071 artists assigned to 18 61 nationalities from WA, and 3,610 landscape paintings by 816 artists assigned with 20 nationalities from WGA. While the 19 overall number of paintings from WGA is relatively smaller than from WA, the WGA dataset has a larger volume of paintings 20 produced before 1800 CE. Therefore, we utilize both datasets in a complementary way. 21 As same paintings can be included in both datasets, we carefully constructed a unified dataset by filtering out the duplicate 22 paintings from both datasets by using meta-information of paintings (title, painter, completion date, etc.) to construct a unified 23 set of painting images. The filtering process is as follows. -
Acquisitions
Acquisitions as of June 30, 2009 African and David Soltker and Irving Dobkin Feldstein Endowment Fund for endowments (2008.206). Decorative Arts (2008.558). Amerindian Art North American Furniture African Mexico Artist unknown, Tea Table, Bwa, Dossi, Burkina Faso, Teotihuacan, Figurine, c. 1750/90, mahogany: Roger and Butterfly Mask, early/mid-20th a.d. 400, greenstone: gift of J. Peter McCormick endow- cen., wood and pigment: Charles Ethel F. and Julian R. Goldsmith ments; restricted gift of Jamee J. H. and Mary F. S. Worcester (2008.675). Tlatilco, Female and Marshall Field, and Carol Collection Fund (2008.190). Edo, Figurines, c. 500 b.c., ceramic W. Wardlaw (2009.58); Stand, Benin City, Nigeria, Container and pigment: gift of Ethel F. and 1790/1810, birch: gift of Jamee J. in the Form of a Leopard Head, Julian R. Goldsmith (2008.676–78). and Marshall Field (2008.679). early 21st cen., brass: gift of Omo Vladimir Kagan, Occasional N’Oba N’Edo Uku Akpolokpolo, United States Table, c. 1952, walnut and brass: Oba of Benin (2008.674). The Orbit Fund (2009.232). Navajo, northern Arizona or Mahdiyya State, Sudan, Tunic Walter von Nessen, manufactured New Mexico, Concho Belt, (Jibbeh), 1885/99, cotton: African by Nessen Studio, Inc., Occa- 1880/95, silver and leather: and Amerindian Curator’s Discre- sional Table, c. 1931, aluminum, Auxiliary Board of the Art tionary, Holly and David Ross, Bakelite, and iron: Quinn E. Institute of Chicago (2009.572); Arnold H. Crane, African and Delaney Fund (2009.156). Bow Guards (Ketoh), 1900/20, Amerindian Art Purchase, and silver, leather, turquoise, and O. -
Judit Nagy Cultural Encounters on the Canvas
JUDIT NAGY CULTURAL ENCOUNTERS ON THE CANVAS: EUROPEAN INFLUENCES ON CANADIAN LANDSCAPE PAINTING 1867–1890 Introduction Whereas the second half of the 19th century is known as the age of transition in Victorian England, the post-confederation decades of the same century can be termed the age of possibilities in Canadian landscape painting, both transition and possibilities referring to a stage of devel- opment which focuses on potentialities and entails cultural encounters. Fuelled both by Europe’s cultural imprint and the refreshing impressions of the new land, contemporary Canadian landscapists of backgrounds often revealing European ties tried their hands at a multiplicity and mixture of styles. No underlying homogenous Canadian movement of art supported their endeavour though certain tendencies are observable in the colourful cavalcade of works conceived during this period. After providing a general overview of the era in Canadian landscape painting, the current paper will discuss the oeuvre of two landscapists of the time, the English-trained Allan Edson, and the German immigrant painter Otto Reinhold Jacobi1 to illustrate the scope of the ongoing experimentation with colour and light and to demonstrate the extent of European influence on contemporary Canadian landscape art. 1 Members of the Canadian Society of Artists, both Edson and Jacobi were exceptional in the sense that, unlike many landscapists at Confederation, they traded in their European settings into genuine Canadian ones. In general, “artists exhibited more scenes of England and the Continent than of Ontario and Quebec.” (Harper 179) 133 An overview of the era in landscape painting Meaning to capture the spirit of the given period in Canadian history, W. -
Happy Valentine's 2020
Happy Valentine's 2020 Americans began exchanging Valentines in the 1700s. In the 1800s Esther Howland took it to a new level during the Civil War when Valentines were very popular. Families, friends and loved ones were separated and feared they would never see each other again. Esther Howland popularized and mass-produced Valentine’s Day cards like this one, using lace, ribbons and colorful paper. She had an all-women assembly line in Worcester, Massachusetts, which started in her bedroom in her family home and grew to have annual revenues of $100,000. (substantial at that time). This forgotten entrepreneur - Esther who? - was a classmate of Emily Dickinson at Mount Holyoke and named her booming business The New England Valentine Company. 1 of 23 People enjoyed sending tokens of affection, poems, pictures, locks of hair and simple homemade cards. Now they could purchase elaborate ones with hidden doors, gilded lace and artistic illustrations. The visionary Esther became known as "The Mother of the American Valentine." (Courtesy American Antiquarian Society) 2 of 23 I can't send you a three dimensional Valentine with accordion effects and a string which moves a bouquet of flowers to reveal a verse (Esther's innovation - still used today), but I am sending you some paintings evocative of the spirit of Valentine's Day. I am featuring American painters in our GDAS year of Americana. 3 of 23 Sundown at Yosemite , Alfred Bierstadt, 1863 Romantic souls love sunsets. A recent survey showed most adults feel a sunset puts them in a romantic mood, even more than dinner by candlelight. -
Plate 6 Epiphany by Marcus a Vincent 195641956 Oil on Panel 515111 X 20 1989 Courtesy Museum of Church History and Art
plate 6 epiphany by marcus A vincent 195641956 oil on panel 515111 x 20 1989 courtesy museum of church history and art A woman in a moment of silent enlightenment begins to understand an eternal truth vincent paints the woman realisti- cally juxtaposing her mortality against an abstract background symbolizing the world of the spirit the paradox of silence in the arts and religion through paradoxical silences some artists convey their an- guish over heavens unresponsiveness in theracethefacethe facehace of evil but in religion silence often conveys gods presence and sorrow jon D green only by the form the pattern can words or music reach the stillness as a chinese jar still moves perpetually in its stillness T S eliot four quartets introduction T S eliotseliote stanza captures an essential ingredient in the theme of this essay the paradoxical relationship between the mute and the immutable between silence and stasis the jar is still silent and unmoving yet still moves us in its stillness qui- etude the word still suggests that both the mute and the motion- less have continuous being and silence is laden with messages that reach our emotions the simple paradox of silence is that what is not said can be more expressive than what is said this paradox of silence has universal applications in every culture and civilization silence weaves its way through gods com- municationmunication with his creations and throughout our attempt to communicate with the divine and with each other particularly through the arts for the purposes of this paper I1 -
The Contemporary Relevance of Split Portraiture
University of Reading The contemporary relevance of split portraiture Rereading Marlene Dumas and Francis Bacon PhD in Fine Art Reading School of Art Hoi Yee Chau August 2019 Declaration I confirm that this is my own work and the use of all material from other sources has been properly and fully acknowledged. Hoi Yee Chau Abstract This thesis starts from the premise that I consider there to be an increase in split portraiture, and that this is because it speaks to certain conditions in modern and contemporary art. ‘Split portraiture’ is a term I use throughout and it means an artwork created on more than one surface; the work could be on panels, screens or any other surfaces with its specificity. My objectives are to investigate the specificity of this particular type of art practice, to discuss modern and contemporary subjects revealed in it, and to study the change in identification and in the way aggressiveness is perceived in the light of Lacanian discourse. I identify the specificity of split portraits including the discontinuity, split, the multiplication of certain elements and the repetition in the creation process. I also argue that vacillation, emptiness, the split, and the traumatic are present in contemporary subjectivity. In addition, I find an important element in my practice -- aggressiveness -- is concealed in the single-panel portraits whereas it manifests in split portraits. The contribution of this thesis is four-fold. First, this thesis addresses the specificity of the split portrait which has been extensively discussed in the literature. Secondly, this thesis is among the first to enrich the understanding of split portraiture related to art practice in the light of Lacanian discourse. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Punk Aesthetics in Independent "New Folk", 1990-2008
PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames -
4 January 2009 Tate Britain Teacher and Student Notes by Linda Bolton
11 SEPTEMBER 2008 – 4 JANUARY 2009 TATE BRITAIN TEACHER AND STUDENT NOTES BY LINDA BOLTON INTRODUCTION Francis Bacon (1909–92) was one of the most important painters of the twentieth century and one of the very few British artists with a strong international reputation. He was a maverick who rejected the dominant practice of the time, abstraction, in favour of a distinctive and disturbing realism. This major exhibition displays Bacon’s work from his first masterpiece to works made shortly before his death. He was born in 1909 in Dublin to Anglo-Irish parents; his father was a racehorse trainer and his mother a steel and coal heiress. Bacon was a sickly child, he suffered from asthma and was allergic to the dogs and horses kept by his father. His lively and gregarious mother showed little interest in her son’s early sketches. Bacon’s closest childhood confidante was the family nursemaid, Jessie Lightfoot. They developed an intense bond and she lived with him at intervals long into Bacon’s adulthood, remaining one of his closest companions throughout his life. It was a peripatetic childhood as his family moved frequently between England and Ireland. The frequent upheavals he experienced as a result of this were to induce in Bacon a sense of displacement which is often referenced in his work. Bacon loved dressing up. As a shy child, his effeminate manner upset his father, who apparently had Bacon horsewhipped by their Irish groom, and banished him from the family home after finding his son dressed in his mother’s underwear, admiring himself in front of a mirror. -
The American Stravinsky
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries. -
South Pacific
THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods. -
Francis Bacon: Five Decades Pdf, Epub, Ebook
FRANCIS BACON: FIVE DECADES PDF, EPUB, EBOOK Anthony Bond,Martin Harrison | 240 pages | 15 Jun 2015 | Thames & Hudson Ltd | 9780500291955 | English | London, United Kingdom Francis Bacon: Five Decades PDF Book Francis Bacon is probably my all-time favorite painter. The shadow looks like a sculpture of a shadow rather than the absence of light whereas the figure simply dissolves into the field. Leave a Reply Cancel reply Your email address will not be published. Marina might be right, but that is the question about the prices at the art market. He travelled with his new lover Peter Lacey to Tangier. He soon broke his own rules and we witness examples of narrative and depictions of the dead, such as the never before exhibited Seated Figure , showing a profile of Dyer. But can a life self- described as chaos really be reduced to year time slots? If your familiarity with the work has been garnered through jpegs and printed catalogues, then there is a lot to re-learn about the grandeur, detail and materials such as sand, dust and aerosol applied with such tools as textured fabric of these painting up close. For more information about the piece, click here! This generously illustrated monograph opens with the fecund period, then traces subsequent periods of exceptional artistic output, decade by decade, through the end of Bacon's career. Painted between May and June of , this great Baconian landscape was the last work the artist made before a major retrospective of his work held at the Metropolitan Museum of Art in New York in Triptych, The triptych is a large three panel painting each panel measuring 78 x 58 in, x The figure itself is hinted at with the use of very little paint and virtually no drawing of forms.