MICKHEL ICIB5202 SW History of Painting-Computer Art-Digitalpainting
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Art in the Mirror: Reflection in the Work of Rauschenberg, Richter, Graham and Smithson
ART IN THE MIRROR: REFLECTION IN THE WORK OF RAUSCHENBERG, RICHTER, GRAHAM AND SMITHSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Eileen R. Doyle, M.A. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor Stephen Melville, Advisor Professor Lisa Florman ______________________________ Professor Myroslava Mudrak Advisor History of Art Graduate Program Copyright by Eileen Reilly Doyle 2004 ii ABSTRACT This dissertation considers the proliferation of mirrors and reflective materials in art since the sixties through four case studies. By analyzing the mirrored and reflective work of Robert Rauschenberg, Gerhard Richter, Dan Graham and Robert Smithson within the context of the artists' larger oeuvre and also the theoretical and self-reflective writing that surrounds each artist’s work, the relationship between the wide use of industrially-produced materials and the French theory that dominated artistic discourse for the past thirty years becomes clear. Chapter 2 examines the work of Robert Rauschenberg, noting his early interest in engaging the viewer’s body in his work—a practice that became standard with the rise of Minimalism and after. Additionally, the theoretical writing the French phenomenologist Maurice Merleau-Ponty provides insight into the link between art as a mirroring practice and a physically engaged viewer. Chapter 3 considers the questions of medium and genre as they arose in the wake of Minimalism, using the mirrors and photo-based paintings of Gerhard Richter as its focus. It also addresses the particular way that Richter weaves the motifs and concerns of traditional painting into a rhetoric of the death of painting which strongly implicates the mirror, ultimately opening up Richter’s career to a psychoanalytic reading drawing its force from Jacques Lacan’s writing on the formation of the subject. -
The Reception of Palaeolithic Art at the Turn of the Twentieth Century: Between Archaeology and Art History
The reception of Palaeolithic art at the turn of the twentieth century: between archaeology and art history Oscar Moro Abadía If I am asked to define any further what I mean by ‘the primitive’ I must refer the reader to the pages of this book, which will show that the term was associated in its time with early Greek vases, with quattrocento painting and with tribal art.1 These words by Ernst Gombrich summarize some of the main meanings associated with the term ‘primitive’ in the field of art history. In its original sense, the word refers to a movement of taste that, in the story of art, runs parallel to the progress towards naturalism. According to Gombrich, while art history may be described as the story of how ‘the artist got better and better in the imitation of nature’,2 there have been a number of artistic movements that have called for a deliberate abandonment of classical standards.3 This ‘preference for the primitive’ has been expressed in ‘the revulsion from that very perfection that art had been said to aim at’.4 During the last years of the nineteenth century, the theory of evolution ‘gave a new meaning to the term ‘primitive’ which […] came to denote the beginnings of human civilization’.5 As a result of this development, the term ‘primitive art’ was incorporated into art historians’ vocabulary to refer to a set of non-Western arts coming from Africa, America and Oceania.6 At the beginning of the twentieth century, ‘primitive art’ was used interchangeably with terms such as ‘savage art’, ‘tribal art’ and ‘art nègre’.7 Since then, the label has been intensively criticized for Acknowledgements. -
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Global histories a student journal The Construction of Chinese Art History as a Modern Discipline in the Early Twentieth Century Author: Jialu Wang DOI: http://dx.doi.org/10.17169/GHSJ.2019.294 Source: Global Histories, Vol. 5, No. 1 (May 2019), pp. 64-77 ISSN: 2366-780X Copyright © 2019 Jialu Wang License URL: https://creativecommons.org/licenses/by/4.0/ Publisher information: ‘Global Histories: A Student Journal’ is an open-access bi-annual journal founded in 2015 by students of the M.A. program Global History at Freie Universität Berlin and Humboldt-Universität zu Berlin. ‘Global Histories’ is published by an editorial board of Global History students in association with the Freie Universität Berlin. Freie Universität Berlin Global Histories: A Student Journal Friedrich-Meinecke-Institut Koserstraße 20 14195 Berlin Contact information: For more information, please consult our website www.globalhistories.com or contact the editor at: [email protected]. The Construction of Chinese Art History as a Modern Discipline in the Early Twentieth Century by: WANG JIALU Wang Jialu Construction of Chinese Art | 65 | VI - 1 - 2019 Nottingham Ningbo China. ABOUT THE AUTHOR degree in Transcultural Studies at the Studies degree in Transcultural with a particular focus on China and its are Visual, Media and Material Cultures, global art history, and curating practices. global art history, She also holds an MA degree in Identity, She also holds an MA degree in Identity, London and a BA degree in International London contemporary media and cultural studies, Jialu Wang is currently pursuing a Master’s is currently pursuing a Master’s Jialu Wang Culture and Power from University College Culture and Power Communications Studies from University of Communications Studies University of Heidelberg. -
Catalonia 1400 the International Gothic Style
Lluís Borrassà: the Vocation of Saint Peter, a panel from the Retable of Saint Peter in Terrassa Catalonia 1400 The International Gothic Style Organised by: Museu Nacional d'Art de Catalunya. From 29 March to 15 July 2012 (Temporary Exhibitions Room 1) Curator: Rafael Cornudella (head of the MNAC's Department of Gothic Art), with the collaboration of Guadaira Macías and Cèsar Favà Catalonia 1400. The International Gothic Style looks at one of the most creative cycles in the history of Catalan art, which coincided with the period in western art known as the 'International Gothic Style'. This period, which began at the end of the 14th century and went on until the mid-15th century, gave us artists who played a central role in the history of European art, as in the case of Lluís Borrassà, Rafael Destorrents, Pere Joan and Bernat Martorell. During the course of the 14th century a process of dialogue and synthesis took place between the two great poles of modernity in art: on one hand Paris, the north of France and the old Netherlands, and on the other central Italy, mainly Tuscany. Around 1400 this process crystallised in a new aesthetic code which, despite having been formulated first and foremost in a French and 'Franco- Flemish' ambit, was also fed by other international contributions and immediately spread across Europe. The artistic dynamism of the Franco- Flemish area, along with the policies of patronage and prestige of the French ruling House of Valois, explain the success of a cultural model that was to captivate many other European princes and lords. -
A Review on Historical Earth Pigments Used in India's Wall Paintings
heritage Review A Review on Historical Earth Pigments Used in India’s Wall Paintings Anjali Sharma 1 and Manager Rajdeo Singh 2,* 1 Department of Conservation, National Museum Institute, Janpath, New Delhi 110011, India; [email protected] 2 National Research Laboratory for the Conservation of Cultural Property, Aliganj, Lucknow 226024, India * Correspondence: [email protected] Abstract: Iron-containing earth minerals of various hues were the earliest pigments of the prehistoric artists who dwelled in caves. Being a prominent part of human expression through art, nature- derived pigments have been used in continuum through ages until now. Studies reveal that the primitive artist stored or used his pigments as color cakes made out of skin or reeds. Although records to help understand the technical details of Indian painting in the early periodare scanty, there is a certain amount of material from which some idea may be gained regarding the methods used by the artists to obtain their results. Considering Indian wall paintings, the most widely used earth pigments include red, yellow, and green ochres, making it fairly easy for the modern era scientific conservators and researchers to study them. The present knowledge on material sources given in the literature is limited and deficient as of now, hence the present work attempts to elucidate the range of earth pigments encountered in Indian wall paintings and the scientific studies and characterization by analytical techniques that form the knowledge background on the topic. Studies leadingto well-founded knowledge on pigments can contribute towards the safeguarding of Indian cultural heritage as well as spread awareness among conservators, restorers, and scholars. -
Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels Between English Poetry and the Visual Arts Roberta Aronson
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Fall 1-1-2003 Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts Roberta Aronson Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Aronson, R. (2003). Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/11 This Worldwide Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts A Dissertation Presented to the Faculty of the McAnulty College and Graduate School of Liberal Arts Duquesne University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Roberta Chivers Aronson October 1, 2003 @Copyright by Roberta Chivers Aronson, 2003 ACKNOWLEDGEMENTS I would like to extend my appreciation to my many colleagues and family members whose collective support and inspiration underlie all that I do: • To my Provost, Dr. Ralph Pearson, for his kind professional encouragement, • To my Dean, Dr. Connie Ramirez, who creates a truly collegial and supportive academic environment, • To my Director, Dr. Albert C. Labriola, for his intellectual generosity and guidance; to Dr. Bernard Beranek for his enthusiasm and thoughtful conversation; and to Dr. -
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. -
The Early Netherlandish Underdrawing Craze and the End of a Connoisseurship Era
Genius disrobed: The Early Netherlandish underdrawing craze and the end of a connoisseurship era Noa Turel In the 1970s, connoisseurship experienced a surprising revival in the study of Early Netherlandish painting. Overshadowed for decades by iconographic studies, traditional inquiries into attribution and quality received a boost from an unexpected source: the Ph.D. research of the Dutch physicist J. R. J. van Asperen de Boer.1 His contribution, summarized in the 1969 article 'Reflectography of Paintings Using an Infrared Vidicon Television System', was the development of a new method for capturing infrared images, which more effectively penetrated paint layers to expose the underdrawing.2 The system he designed, followed by a succession of improved analogue and later digital ones, led to what is nowadays almost unfettered access to the underdrawings of many paintings. Part of a constellation of established and emerging practices of the so-called 'technical investigation' of art, infrared reflectography (IRR) stood out in its rapid dissemination and impact; art historians, especially those charged with the custodianship of important collections of Early Netherlandish easel paintings, were quick to adopt it.3 The access to the underdrawings that IRR afforded was particularly welcome because it seems to somewhat offset the remarkable paucity of extant Netherlandish drawings from the first half of the fifteenth century. The IRR technique propelled rapidly and enhanced a flurry of connoisseurship-oriented scholarship on these Early Netherlandish panels, which, as the earliest extant realistic oil pictures of the Renaissance, are at the basis of Western canon of modern painting. This resulted in an impressive body of new literature in which the evidence of IRR played a significant role.4 In this article I explore the surprising 1 Johan R. -
French Gothic Ivories and the Composanto, Pisa: Crosscurrents in Late Gothic Art Penny Howell Jolly Skidmore College, [email protected]
Skidmore College Creative Matter Art History Faculty Scholarship Art History 1991 French Gothic Ivories and the Composanto, Pisa: Crosscurrents in Late Gothic Art Penny Howell Jolly Skidmore College, [email protected] Follow this and additional works at: https://creativematter.skidmore.edu/art_his_fac_schol Part of the Arts and Humanities Commons Recommended Citation Jolly, Penny Howell. "French Gothic Ivories and the Composanto, Pisa: Crosscurrents in Late Gothic Art."Gazette des Beaux-Arts 118 (1998): 161-170. This Article is brought to you for free and open access by the Art History at Creative Matter. It has been accepted for inclusion in Art History Faculty Scholarship by an authorized administrator of Creative Matter. For more information, please contact [email protected]. CROSSCURRENTS IN THE MID-TRECENTO FRENCH MEDIEVAL IVORIES AND THE CAMPOSANTO, PISA LI y PENNY HOWELL JOLLY ECE:--ITLY, Richard Randall convinc and the i vorics produced by the Atelier of the ingly argued that a group of nine Boxes will further confirm what scholars have french ivories was produced between proposed regarding fourteenth century French artisLs 1340 and 1360 in a Parisian or J\'orlh from Jean Pucelle through the great Franco FrenchR workshop. which he names the Atelier of Flemi sh illuminators of the International Gothic 1 the Boxes • Particularly impressive and original Style: Italian Treccnto art was a rich source for in the group. according to Randall, is the treat these late Gothic artists, both in terms of their ment of the landscape. "which rises at a steep striving for naturalism and their interest in in angle from the viewer, [sol the villages and novative iconography. -
14 CH14 P468-503.Qxp 9/10/09 11:40 Page 468 14 CH14 P468-503.Qxp 9/10/09 11:40 Page 469 CHAPTER 14 Artistic Innovations in Fifteenth-Century Northern Europe
14_CH14_P468-503.qxp 9/10/09 11:40 Page 468 14_CH14_P468-503.qxp 9/10/09 11:40 Page 469 CHAPTER 14 Artistic Innovations in Fifteenth-Century Northern Europe HE GREAT CATHEDRALS OF EUROPE’S GOTHIC ERA—THE PRODUCTS of collaboration among church officials, rulers, and the laity—were mostly completed by 1400. As monuments of Christian faith, they T exemplify the medieval outlook. But cathedrals are also monuments of cities, where major social and economic changes would set the stage for the modern world. As the fourteenth century came to an end, the were emboldened to seek more autonomy from the traditional medieval agrarian economy was giving way to an economy based aristocracy, who sought to maintain the feudal status quo. on manufacturing and trade, activities that took place in urban Two of the most far-reaching changes concerned increased centers. A social shift accompanied this economic change. Many literacy and changes in religious expression. In the fourteenth city dwellers belonged to the middle classes, whose upper ranks century, the pope left Rome for Avignon, France, where his enjoyed literacy, leisure, and disposable income. With these successors resided until 1378. On the papacy’s return to Rome, advantages, the middle classes gained greater social and cultural however, a faction remained in France and elected their own pope. influence than they had wielded in the Middle Ages, when the This created a schism in the Church that only ended in 1417. But clergy and aristocracy had dominated. This transformation had a the damage to the integrity of the papacy had already been done. -
EARLY NETHERLANDISH PAINTING Part One
EARLY NETHERLANDISH PAINTING part one Early Netherlandish painting is the work of artists, sometimes known as the Flemish Primitives, active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance, especially in the flourishing cities of Bruges, Ghent, Mechelen, Leuven, Tounai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568. Early Netherlandish painting coincides with the Early and High Italian Renaissance but the early period (until about 1500) is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy; although beginning in the 1490s as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic. Robert Campin (c. 1375 – 1444), now usually identified with the Master of Flémalle (earlier the Master of the Merode Triptych), was the first great master of Flemish and Early Netherlandish painting. Campin's identity and the attribution of the paintings in both the "Campin" and "Master of Flémalle" groupings have been a matter of controversy for decades. Campin was highly successful during his lifetime, and thus his activities are relatively well documented, but he did not sign or date his works, and none can be confidently connected with him. -
Collection KUN: Art History
Collection KUN: Art history Contents Collection 2 Systematic arrangement 3 Main division Art studies 4 Main division Individual art forms 5 Other subject areas 6 Chronological table (PT) 7 Geographical table (GT) 8 Handbooks and reference works 14 p. 1 / 14 Collection KUN: Art history Collection The collection covers the history of Western art including architecture from Classical antiquity up to the present. For literature on miniature painting and book illumination see the collection DOC (Book and Manuscript Studies). Within the Art history collection the following general sections can be distinguished: theory and method of art history (20.01-20.04), theory of art (20.05-20.09), art and society (20.10-20.19), iconology, iconography and emblems (20.20-20.23), art history overviews and studies (20.30-20.70). Apart from this, there are several sections dedicated to individual art media: painting (21.00), drawing (21.20), printing (21.30), photography (21.40), sculpture (21.50), architecture (21.60-21.70) and decorative arts (21.80). Besides, there are sections with monographic studies about and oeuvre catalogues of individual artists, and with collection, exhibition and auction catalogues. Focal points in the collection are: text editions in the field of art history and art theory (the Kunstliteratur); art theory, the methodology and history of art history, iconology, emblematics (both text editions and secondary literature), Nachleben (the influence of classical antiquity on western art and art history). Besides, the history of art and architecture in the Northern and Southern Netherlands of the middle ages, the art of painting, drawing and printing after the middle ages, Italian renaissance art and finally the history of patronage and collecting, and the reception of Dutch art.