Attic Red-Figure Vase-Painters

1965 ◽  
Vol 85 ◽  
pp. 90-101 ◽  
Author(s):  
Martin Robertson
Keyword(s):  
Vase Painting ◽  
General Sense ◽  
Artistic Style ◽  
Rule Of Thumb ◽  
Historical Method ◽  
Rare Combination ◽  
Works Of Art

Rather less than a century ago Morelli began a revolution in art-historical method by demonstrating that every painter has his formulae for rendering details—ears, eyes, hands, drapery-folds and so on—amounting to a personal system; and that, for attribution, a study of these minutiae affords a valuable check on, if not a sounder basis than, a general sense of style; or rather that the two together form the only sound basis. There is no rule of thumb. Formulae are the artist's servants, not his masters. They appear and vanish, change and merge, according to the development of his technique and style, the influences he undergoes, the speed at which he is working, all the circumstances of his art; but in much of any painter's work they will be found recurring; rarely, as a system, in another's. Morellian method can only be effectively used by one who, like Morelli himself, is sensitive to works of art not only as aesthetic achievements but as expressions of personality; but without the tools of his forging it is impossible for sensitivity alone to make much headway. The study of Italian painting before Morelli was a chaos of unchecked traditions and conflicting hunches. Despite fine work by Hartwig, Furtwängler and others, the study of red-figure vase-painting remained much the same (without the traditions) until Beazley brought to it a rare combination of sensitivity to personal artistic style with Morellian discipline.

scholarly journals Sensory and Mental images in the poetry of Hakim Nadim AL-Daoudi

2018 ◽  
Vol 227 (1) ◽  
pp. 275-300
Author(s):  
Dr.Nawzad Shukur Ismail ◽  
Assist. Lect. Abdullah Ibrahim Faqi Salih
Keyword(s):  
Mental Image ◽  
Mental Images ◽  
General Sense ◽  
Artistic Style ◽  
Artistic Experience ◽  
Starting Point ◽  
Research Plan ◽  
Political Dimensions ◽  
Poetic Texts ◽  
Poetic Vision

      The theme of the sensory and mental image in their general sense is a starting point for poets to enrich their poetic experiences and draw their artistic paintings that reflect their intellectual visions, feelings and emotions, taking into account the reality of living and imagination. This research deals with the patterns of sensory and mental images of the Iraqi expatriate poet Hakim Nadim Al- Daoudi, and reflects his poetic experiences, which were filled with visions, ideas and feelings in a beautiful artistic style with profound connotation based on his cultural references and linguistic vocabulary, which we rarely find in other poets who write in a non- native language. This is what enriched his poetic texts in terms of his realistic vision of the problems of his society with his intellectual and political dimensions, which cast a shadow on the identification of the features of his sensory and mental image, and the fact that he employs them through what he sees, hears, smells, touches, and tastes, his poetic vision formed a spirtual, spiritual paintings that takes the recipient away to the poetic self- worlds to share his artistic experience. The research plan is based on the descriptive analytical approch divided in to two chapters, one of which deals with sensory images of the visual , physical, auditory, tactile and tactile types. In the second chapters we discussed the mental images that included the avator and the abstract images, concluded with the main findings of the research.

Visual Art

2020 ◽  
pp. 6-31
Author(s):  
G. O. Hutchinson
Keyword(s):  
Visual Art ◽  
Wall Painting ◽  
Vase Painting ◽  
Male And Female ◽  
Visual Detail ◽  
Works Of Art ◽  
Art And Literature ◽  
Group Structures

Visual art shows the ancient interest in motion palpably, and helps in perceiving both differences between depictions in art and literature and aspects they have in common. Mostly well-known works of art are chosen for detailed discussion. A Corinthian arbyallos shows leaping in a dance as an action admired in itself; a Boeotian skyphos gives a dynamic picture of Odysseus blown by the wind. The stele of Dexileos presents a moment of motion just before a decisive event, as does a wall-painting of Pentheus. Still further back before events come the discus-thrower (Discobolus) and a painting of Medea. A wall-painting of Hades and Persephone and Exekias’ vase-painting of Dionysus show gods in motion at the start and in the sequel of events. Artistic depictions exploit space, visual detail, and the regularity of motion; the viewer’s knowledge is important, as in literature. Lessing misguidedly thinks that literature is more suited to depicting motion; literature can do more with time, but less with physical detail and space. The contribution of the reader’s or listener’s imagination does not reduce the significance of described motion, any more than the contribution of the viewer reduces the significance of depicted thought. Part of literature’s interest in art is an interest in motion, as in ekphrasis or Pindar. Art and literature together show important variables (like speed), oppositions (as between individual and a group), structures (as of male and female). In literature, language is important to what motion arrests attention.

scholarly journals “Membaca Zaman": Refleksi Pemikiran Jeihan dalam Lukisannya, 1953-2012

2017 ◽  
Vol 2 (1) ◽  
pp. 31
Author(s):  
Herliyana Rosalinda ◽  
Dhanang Respati Puguh
Keyword(s):  
Higher Education ◽  
Social Environment ◽  
Artistic Style ◽  
Historical Method

This research examines on the reflection ofJeihan's thoughttraced via his paintingsproduced during 1953 until 2012. It uses historical method with hermeneutical approach. Jeihan’s childhood experienced abnormalities, that made him marginalized in his family and social environment. As the result, his personality became rough and rebellious. It affected his painting style that tend to be harsh and had no character. This bad temper attached him until 1953, when Jeihan studied painting in Himpunan Budaya Surakarta (HBS), and continued his higher education to Institut Teknologi Bandung (ITB). In order to understand painting style, it can be seen from line and color paintings that always progressed. It can be analyzed into four periods which colored by a different artistic style, that are seeking (1952-1965), discovery (1965-1975), maturation (1975-1985), and reaping period (1986-2012).

On Abstract Art

Philosophy ◽  
1936 ◽  
Vol 11 (42) ◽  
pp. 195-202
Author(s):  
Ivan W. Brooks
Keyword(s):  
Abstract Art ◽  
General Sense ◽  
Rule Of Thumb ◽  
Modern School ◽  
Good Taste ◽  
The World ◽  
Composition Classes ◽  
Effect Of Light

Since the death of Cézanne in 1906, there has been throughout the world of European art a general reawakening of a sense of the necessity for constructive qualities in painting. Whereas our fathers were content to speak of the “composition” of a picture, in our own day it is more usual to speak of its construction. Composition, after all, is a comparatively loose and elastic term implying a generally harmonious arrangement of the massed effect of light and dark, a juxtaposition of contrasting and balanced tones, sufficiently logical in their placing as to give a general sense of repose and unity to the work as a whole. Composition was generally understood to be dependent upon instinct and good taste on the part of the painter, and, as such, it was looked upon as a thing that could not be taught by rule of thumb. Like a sense of colour, a student either had it or he had not; and, beyond attempting to guard him from glaring error, there was little that a teacher of art could do for him in this department of his training. Perspective, which is governed by definite mathematical rules, could be taught in detail as an aid to composition, but the sense of composition itself must be allowed to develop in the student according to his talent for this side of his work. Composition classes were indeed a part of his curriculum, but the criticism which a student received at such classes amounted, in practice, to little more than general advice, given by the teacher, from his ripe experience and his developed sense oftherightandwrong in this matter, to the unmatured taste of the student. It was understood that composition could not exist without a general sense of order, but it was understood in a much looser sense than is implied by the comparatively modern use of the word “construction” that has replaced it. The artist of the modern school or schools of thought (for there is no one modern school) will have none of the old happy-golucky, loose thinking in the matter of construction.

Artistic style

2018 ◽  
Author(s):  
Jenefer M. Robinson
Keyword(s):  
Subject Matter ◽  
Significant Feature ◽  
Work Of Art ◽  
Cultural Attitudes ◽  
Artistic Style ◽  
Works Of Art ◽  
Period Style ◽  
History Of ◽  
Individual Style ◽  
Do So

Artistic style is a problematic notion in several ways. Sometimes the term refers to style in general, as it does in ‘Good style requires good diction’. Sometimes it refers to style as a particular, as in ‘Van Gogh’s style’ or ‘the Baroque style’. In antiquity, style was a rhetorical concept referring to diction and syntax; consequently style is very often identified with the formal elements of a work of art as opposed to the content. However, the kind of subject matter an artist chooses may itself be a significant feature of style. One way of thinking about style is as a set of recurrent features of works of art that identify them as the product of a particular person, period or place. This may be adequate for some purposes, but it ignores the fact that a style has a unified ‘physiognomy’ or expressive character. The relation between style and expression is complex. A period style is often thought to express the cultural attitudes of the period, but it cannot do so in a very direct way. What a style expresses is a function of where it occurs in the history of style. Similarly, a work of art in an artist’s individual style will be expressive only in the context of the possibilities of that style. According to the Romantic tradition, individual style is a genuine expression of the artist’s self. But according to others, style is simply a construction by readers, viewers and listeners.

scholarly journals A Preliminary Study on the Intervention of Western Oil Painting Creation Imagery in College Art Teaching

2021 ◽  
Vol 9 (4) ◽  
Author(s):  
Xiangying Mo
Keyword(s):  
Modern Technology ◽  
Chinese Painting ◽  
Growing Up ◽  
Oil Painting ◽  
Artistic Style ◽  
Oil Paintings ◽  
Works Of Art ◽  
Art Teaching ◽  
Correct Direction ◽  
The Creation

With the development progress of modern technology and the continuous improvement of culture, each of us has become more tolerant of artistic expressions. Nowadays, the ways of expression in painting have become more diverse, different ways of expression in painting will converge with each other. Everyone is familiar with oil painting. It is a form of painting that originated in the West. In the process of growing up in our country for more than 100 years, the creation of oil paintings in university art education also has very significant characteristics. This has also determined a correct direction for the formation of the artistic style of the students in the future and laid a very good foundation. So how do we combine the creative image of Western oil paintings and guide students correctly in oil painting creation is very important. Based on my many years of teaching creation experience, I’d like to introduce the preliminary explorations in the following aspects of teaching, hoping to provide very good guidance for the majority of teachers and friends. We all know that the creation of works of art is a very high goal of art study, all the purpose is to make works of art and paintings with ideas come out. Then, this article will start with the enthusiasm of Western oil painting and traditional Chinese painting, it will conduct certain research and exploration of western oil painting creation image entering college art teaching.

An Improved Quantitative Image Analyser

1977 ◽  
Vol 35 ◽  
pp. 226-227
Author(s):  
J.P. Fallon ◽  
P.J. Gregory ◽  
C.J. Taylor
Keyword(s):  
Feature Extraction ◽  
Quantitative Analysis ◽  
Frequency Content ◽  
General Sense ◽  
Physical Measurements ◽  
Quantitative Image ◽  
Image Analyser ◽  
Automatic Methods ◽  
Quantitative Results

Quantitative image analysis systems have been used for several years in research and quality control applications in various fields including metallurgy and medicine. The technique has been applied as an extension of subjective microscopy to problems requiring quantitative results and which are amenable to automatic methods of interpretation.Feature extraction. In the most general sense, a feature can be defined as a portion of the image which differs in some consistent way from the background. A feature may be characterized by the density difference between itself and the background, by an edge gradient, or by the spatial frequency content (texture) within its boundaries. The task of feature extraction includes recognition of features and encoding of the associated information for quantitative analysis.Quantitative Analysis. Quantitative analysis is the determination of one or more physical measurements of each feature. These measurements may be straightforward ones such as area, length, or perimeter, or more complex stereological measurements such as convex perimeter or Feret's diameter.

Non destructive testing of works of art by terahertz analysis

2013 ◽  
Vol 64 (2) ◽  
pp. 21001 ◽  
Author(s):  
Jean-Luc Bodnar ◽  
Jean-Jacques Metayer ◽  
Kamel Mouhoubi ◽  
Vincent Detalle
Keyword(s):  
Non Destructive Testing ◽  
Destructive Testing ◽  
Works Of Art ◽  
Non Destructive

Artistic-professional strategies in the music sector. The case of the jazz scene in Barcelona

2020 ◽  
pp. 145-163
Author(s):  
Marta Casals Balaguer
Keyword(s):  
Research Methods ◽  
Social Dimension ◽  
Artistic Identity ◽  
Professional Musicians ◽  
Main Research ◽  
Works Of Art ◽  
The Social ◽  
The Creation

This article aims to analyse the strategies that jazz musicians in Barcelona adopt to develop their artistic careers. It focuses on studying three main areas that influ-ence the construction of their artistic-professional strategies: a) the administrative dimension, characterized mainly by management and promotion tasks; b) the artistic-creative dimension, which includes the construction of artistic identity and the creation of works of art; and c) the social dimension within the collective, which groups together strategies related to the dynamics of cooperation and col-laboration between the circle of musicians. The applied methodology came from a qualitative perspective, and the main research methods were semi-structured inter-views conducted with active professional musicians in Barcelona and from partic-ipant observation.

Sign in / Sign up

Export Citation Format

Share Document