scholarly journals The Landscape - A System of Plastic Expressions

2021 ◽  
Vol 22 (1) ◽  
pp. 240-243
Author(s):  
Iarîna Savițkaia-Baraghin
Keyword(s):  

Abstract The principles of mastering landscape painting, applied by past masters, as well as theoretical elaborations in the field of chromatics, psychology and pedagogy of the arts, become important components in the improvement of outdoor painting in contemporary conditions.

Author(s):  
June I.K. Black

Dr. Atl was a Mexican artist, author, political activist, and amateur vulcanologist. Born Gerardo Murillo in 1875 and raised in Guadalajara in the state of Jalisco, Dr. Atl was trained in drawing and the use of color by the Brazilian-born artist Félix Bernardelli, from whom he also learned of the European artistic vanguard. When Murillo received a scholarship from the Mexican Ministry of Public Education and Fine Arts in 1897, he traveled first to France, where he encountered the work of the Impressionists and Post-Impressionists. He then traveled to Italy, where he learned of the Divisionists, a group whose technical innovations in painting motivated his own later reimagining of the medium’s possibilities. From 1911–1914, the artist lived and worked in Paris. Throughout the early 1900s, Dr. Atl stayed connected to the arts scene in Europe, although he rejected what he referred to as the barbarity of Futurism and Cubism. Upon returning to his home country in 1914, Dr. Atl revolutionized the Mexican approach to depicting landscapes. Building on Mexico’s already strong tradition of landscape painting—most notably the work of Luis Coto (1830–1891), Daniel Thomas Egerton (1797–1842), Eugenio Landesio (1810–1879), and José María Velasco (1840–1912)—he introduced Mexican society to the techniques he had learned in Europe and brought a new expressiveness to the genre.


2015 ◽  
Vol 43 (4) ◽  
pp. 689-703
Author(s):  
John Holmes

In her landmark study, The Art of the Pre-Raphaelites, Elizabeth Prettejohn identifies “the burgeoning Victorian interest in the sciences” as one of Pre-Raphaelite art's “most important contemporary contexts” (251). Many critics have seen the at times remorseless detail of early Pre-Raphaelite painting and poetry as analogous to science. As Tim Barringer puts it, “The attention which hard-edged Pre-Raphaelite naturalism of the 1850s paid to observing the individual object encapsulates [science's] questioning, empirical spirit” (16). A major exhibition of Pre-Raphaelite landscape painting in London, Berlin, and Madrid in 2004 to 2005 paid close attention to geology, meteorology, and natural history (Staley et al.). There have been a growing number of studies of specific aspects of the relationship between Pre-Raphaelitism and science, with individual chapters or articles published on Pre-Raphaelitism and phrenology (Grilli), physiognomy (Hartley 80–109) and ethnography (Pointon), and on specific painters, including John Everett Millais (Codell) and John Brett (Payne 104–23). Through this work, recent critics have begun to rediscover the relationship between Pre-Raphaelitism and science which Victorian critics favourable to the movement saw as fundamental to it (see also Rosenfeld). Writing in the Fortnightly Review in 1867, Sidney Colvin remarked that “the scientific spirit, coupled with the disgust of earnest men at academic pretensions and their reaction from academic principles, constituted the very essence of præ-Raphaelitism” (470–71).


Author(s):  
Cecil E. Hall

The visualization of organic macromolecules such as proteins, nucleic acids, viruses and virus components has reached its high degree of effectiveness owing to refinements and reliability of instruments and to the invention of methods for enhancing the structure of these materials within the electron image. The latter techniques have been most important because what can be seen depends upon the molecular and atomic character of the object as modified which is rarely evident in the pristine material. Structure may thus be displayed by the arts of positive and negative staining, shadow casting, replication and other techniques. Enhancement of contrast, which delineates bounds of isolated macromolecules has been effected progressively over the years as illustrated in Figs. 1, 2, 3 and 4 by these methods. We now look to the future wondering what other visions are waiting to be seen. The instrument designers will need to exact from the arts of fabrication the performance that theory has prescribed as well as methods for phase and interference contrast with explorations of the potentialities of very high and very low voltages. Chemistry must play an increasingly important part in future progress by providing specific stain molecules of high visibility, substrates of vanishing “noise” level and means for preservation of molecular structures that usually exist in a solvated condition.


PsycCRITIQUES ◽  
2007 ◽  
Vol 52 (31) ◽  
Author(s):  
Paul J. Silvia
Keyword(s):  

Sign in / Sign up

Export Citation Format

Share Document