scholarly journals The Semi-Nude and Collapsing Female Figure: Sexuality in the Aesthetic Paintings of Albert Moore and Edward Burne-Jones

2021 ◽  
Author(s):  
Meaghan Collins
Keyword(s):  
Visual Analysis ◽  
Body Language ◽  
Female Figure ◽  
Female Nude ◽  
Victorian Period ◽  
History Of Art ◽  
Female Figures ◽  
History Of ◽  
Pre Raphaelites ◽  
The Aesthetic

The female nude has been researched extensively over the history of Art, and continues to fascinate researchers and art enthusiasts alike. However it is difficult to find information on female figures who are semi-nude: one who is not fully clothed nor entirely nude. The Victorian period in England was a very conservative time, especially for women. Influenced by the Pre-Raphaelites, Aesthetic painters Albert Moore and Edward Burne-Jones depicted women in a peculiarly sexual manner, one that encapsulates the struggle with sexual acceptance of the era. Women are often shown wearing loose, transparent fabric and often asleep or in languid, weary poses. These weary poses are what I refer to as “collapsing women.” In this visual analysis I take a close look at these female figures, and examine them using the terms “semi-nude” and “collapsing female,” in order to determine the meaning behind their dress and body language.

scholarly journals The Semi-Nude and Collapsing Female Figure: Sexuality in the Aesthetic Paintings of Albert Moore and Edward Burne-Jones

2021 ◽  
Author(s):  
Meaghan Collins
Keyword(s):  
Visual Analysis ◽  
Body Language ◽  
Female Figure ◽  
Female Nude ◽  
Victorian Period ◽  
History Of Art ◽  
Female Figures ◽  
History Of ◽  
Pre Raphaelites ◽  
The Aesthetic

The female nude has been researched extensively over the history of Art, and continues to fascinate researchers and art enthusiasts alike. However it is difficult to find information on female figures who are semi-nude: one who is not fully clothed nor entirely nude. The Victorian period in England was a very conservative time, especially for women. Influenced by the Pre-Raphaelites, Aesthetic painters Albert Moore and Edward Burne-Jones depicted women in a peculiarly sexual manner, one that encapsulates the struggle with sexual acceptance of the era. Women are often shown wearing loose, transparent fabric and often asleep or in languid, weary poses. These weary poses are what I refer to as “collapsing women.” In this visual analysis I take a close look at these female figures, and examine them using the terms “semi-nude” and “collapsing female,” in order to determine the meaning behind their dress and body language.

scholarly journals Computer Games in Art History. Traditional architecture and painting presented in virtual reality

E-methodology ◽  
2019 ◽  
Vol 5 (5) ◽  
pp. 84-99
Author(s):  
Michał Szymański
Keyword(s):  
Computer Games ◽  
Visual Analysis ◽  
Complex Structure ◽  
Visual Complexity ◽  
Historical Context ◽  
Visual Object ◽  
History Of Art ◽  
History Of ◽  
The Rich ◽  
Game Developers

Aim. The aim of the research is to show the applications of art reception in computer games. Moreover  it is important  to show  the game as a visual object worth to analysis for art historian, because of complex structure and relations with traditional artistic media like architecture and painting. Many disciplines, like ludology, narratology and culture study research computer games, but we can see a  large lack in the  state of research in visual aspects of games, which should be supplemented.  Methods. The subject of study are five games belonging to different game genres. The first, Assasin’s Creed II is set in a  historical context, the next Witcher III and Dark Souls embedded in the realities of fantasy and finally, two games  in an  independent games category. The basic method is iconographic identification of  the object and comparative difference and similarity between original source of inspiration and transposition of  this in computer media. Therefore basic tools gained from history of art are used, which are necessary for visual analysis of a  piece of art. Also important is notion of  a commonplace forming a frame for images from different media.  Results. Indicated examples show that classic art has a strong influence on numerous computer games. The citations and allusions from art brings an additional narration completing the story in the game. Objects of architecture or paintings  also give  symbolic meanings, influencing the interpretation of the whole game. Game developers oscillate between education in the history of art and the use of these references to create your own world.  Conclusion. The examples presented in the article are only part of the rich area of art inspirations that can be found in many games. This should become a contribution to further research, not only taking into account the indicated types of references, but also the visuality of the games themselves The visual complexity of the games would require separate, more extensive research that would bring a lot into the perception of games and researching them

scholarly journals Museos y género: una asignatura pendiente

2019 ◽  
pp. 184
Author(s):  
Marta Torregrosa
Keyword(s):  
Cognitive Maps ◽  
Cultural Institutions ◽  
Critical Position ◽  
The Core ◽  
Palabras Clave ◽  
History Of Art ◽  
Female Figures ◽  
History Of ◽  
Cultural Sphere ◽  
Las Mujeres

Resumen: El presente artículo trata de aproximarnos a la realidad representativa de las mujeres tanto en la historia del arte como en el escenario de las instituciones museísticas, desde una perspectiva de género. Emprenderemos un viaje a través de la historia, deambulando por las entrañas que estructuran la esfera cultural, observando las bases del discurso androcentrista que prevalece, aun hoy en día, en la realidad expositiva de los museos. Recorreremos la historia del arte, contemplando las múltiples y diversas representaciones que ha tenido la figura femenina a lo largo de la historia, además de la mirada del artista creador, quien ha perfilado la imagen de la mujer bajo su criterio, imponiendo unos estereotipos y roles que se han repetido a lo largo de los siglos. Transitaremos por las teorías desde un posicionamiento crítico en términos feministas, para descubrir la ausencia de las artistas en el arte y en el contexto de las instituciones culturales. Revisaremos las acciones y nuevas miradas que se han planteado a lo largo de los últimos años, para cuestionar la ausencia de figuras femeninas como sujetos activos y creadores, con el fin de alcanzar la inclusión de la mujer en ámbito artístico y cultural y así mismo, crear nuevos mapas cognitivos desde la igualdad de oportunidades y la recuperación de la memoria de las artistas, que han sido invisibilizadas en nuestra historia.  Palabras clave: Museos, género, mujeres, representación, feminismo.  Abstract: This article tries to approach the representative reality of women both in the history of art and in the setting of museum institutions, from a gender perspective. We will embark on a journey through history, wandering through the core that structures the cultural sphere, observing the foundations of the androcentric discourse that prevails, even today, in how museums show themselves. We will go through the history of art, contemplating the multiple and diverse representations that the female figure has had throughout history, as well as the creative artist, who has shaped the image of women according to his criteria, imposing stereotypes and roles that have been repeated over the centuries. We will go through the theories from a critical position in feminist terms, to discover the absence of artists in art and in the context of cultural institutions. We will review the actions and new perspectives that have been proposed over the last few years, to question the absence of female figures as active and creative subjects, in order to achieve the inclusion of women in the artistic and cultural sphere and also, to create new cognitive maps from the equality of opportunities and the recovery of the memory of the artists, that have been made invisible in our history.  Keywords: Museums, gender, women, representation, feminism.   DOI: http://dx.doi.org/10.7203/eari.10.14430

The Art and Philosophy of Balance at Constantin Brâncusi

1998 ◽  
pp. 127-132
Author(s):  
Stefan Munteanu
Keyword(s):  
Metaphorical Thinking ◽  
History Of Art ◽  
History Of ◽  
Symbolic Thinking ◽  
Constantin Brancusi ◽  
The Aesthetic ◽  
Outstanding Representative ◽  
The Way

Our paper intends to be an attempt of making evident the joining of the art and the philosophy of Constantin Brâncusi, the most outstanding representative of sculpture in our century. The way of approaching this topic was suggested to us by the great artist and thinker himself, who urges us that we should not make difficult what he expressed in a simple way. Of course, his multipurpose creation makes our job quite difficult, but we think the effort is worth doing, because in spite of all the limited commentaries, we succeeded in fiding out the coherence and the universality of his thinking as well as his capacity of placing himself above the cleatism—heraclitionism dispute which is considered as being fundamental for the whole history of art. That is because there exists, and we can speak about a unity of his works in all, based on the solidarity of the forms of his sculpture. As a result, mixing up the formal entities with the deviations from the principles of identity and noncontradiction in the discursive logic, we discover another type of logic in his creation. It is the logic of the metaphorical thinking, of the symbolic thinking based on the principle that anything can be something else in the same moment. This is why the aesthetic commentary, concerned with the modality of the suggestive expression, requires a complementarity of a hermeneutics of the symbol, capable of revealing the intention of the work in its complexity. Therefore, our attempt of considering the symbol of the ovoid as the keystone of Brâncusi’s philosophical conception, appears to be verisimilar. That is because, from the archetypal perspective, according to the arhaic Romanian philosophy, the egg is just the in-between shape (between en the spherical and hourglass, between geometric and biotic, between eleatic and heraclitian); it is the element by which the formal-aesthetic analysis can be unified; it is the synthesis of the opposites and the joy of the equilibrium.

War of Perception, Perception of Time

2018 ◽  
Vol 12 (2) ◽  
pp. 252-267
Author(s):  
Kuniichi Uno
Keyword(s):  
Michel Tournier ◽  
Crucial Question ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Desert Island ◽  
Perception Of Time

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

Migration and Modernities

2019 ◽  
Keyword(s):  
Native Americans ◽  
Literary History ◽  
Historical Study ◽  
Racial Categories ◽  
Geographic Boundaries ◽  
The Us ◽  
Technological Developments ◽  
History Of ◽  
The Aesthetic ◽  
Eighteenth And Nineteenth Centuries

Migration and Modernities recovers a comparative literary history of migration by bringing together scholars from the US and Europe to explore the connections between migrant experiences and the uneven emergence of modernity. The collection initiates transnational, transcultural and interdisciplinary conversations about migration in the eighteenth and nineteenth centuries, demonstrating how mobility unsettles the geographic boundaries, temporal periodization, and racial categories we often use to organize literary and historical study. Migrants are by definition liminal, and many have existed historically in the spaces between nations, regions or ethnicities. In exploring these spaces, Migration and Modernities also investigates the origins of current debates about belonging, rights, and citizenship. Its chapters traverse the globe, revealing the experiences — real or imagined — of eighteenth- and nineteenth-century migrants, from dispossessed Native Americans to soldiers in South America, Turkish refugees to Scottish settlers. They explore the aesthetic and rhetorical frameworks used to represent migrant experiences during a time when imperial expansion and technological developments made the fortunes of some migrants and made exiles out of others. These frameworks continue to influence the narratives we tell ourselves about migration today and were crucial in producing a distinctively modern subjectivity in which mobility and rootlessness have become normative.

What's the Message of Architecture?

2014 ◽  
pp. 126-136
Author(s):  
Аndrey G. Velikanov
Keyword(s):  
Separate Entity ◽  
Aesthetic Value ◽  
Current State ◽  
Entire Complex ◽  
History Of ◽  
The Aesthetic

Considers the aspects of architecture as a language able to express the current state and to prophetically indicate the upcoming changes. The aesthetic value of a construction cannot be perceived just as a separate entity, but it can be cognized in the context and not only a visual one, in space. It is necessary to see the entire complex of the accompanying phenomena, all the flow of the unfolding metaphors and values. In the model in view the figure of the author-creator must be reconsidered as no longer conforming to today's reality. The development of the Stalinist Empire style, as well as its transformations, is considered as one of the specific phenomena in the history of well-known constructions

Idleness and Freedom in Michel de Montaigne’s “Essays”

2019 ◽  
Vol 29 (1) ◽  
pp. 189-202
Keyword(s):  
Intellectual History ◽  
Ancient Rome ◽  
Spiritual Quest ◽  
Guiding Principle ◽  
Sextus Empiricus ◽  
History Of ◽  
Self Knowledge ◽  
The Aesthetic ◽  
The Relationship

The article advances a hypothesis about the composition of Michel de Montaigne’s Essays. Specialists in the intellectual history of the Renaissance have long considered the relationship among Montaigne’s thematically heterogeneous thoughts, which unfold unpredictably and often seen to contradict each other. The waywardness of those reflections over the years was a way for Montaigne to construct a self-portrait. Spontaneity of thought is the essence of the person depicted and an experimental literary technique that was unprecedented in its time and has still not been surpassed. Montaigne often writes about freedom of reflection and regards it as an extremely important topic. There have been many attempts to interpret the haphazardness of the Essays as the guiding principle in their composition. According to one such interpretation, the spontaneous digressions and readiness to take up very different philosophical notions is a form of of varietas and distinguo, which Montaigne understood in the context of Renaissance philosophy. Another interpretation argues that the Essays employ the rhetorical techniques of Renaissance legal commentary. A third opinion regards the Essays as an example of sprezzatura, a calculated negligence that calls attention to the aesthetic character of Montaigne’s writing. The author of the article argues for a different interpretation that is based on the concept of idleness to which Montaigne assigned great significance. He had a keen appreciation of the role of otium in the culture of ancient Rome and regarded leisure as an inner spiritual quest for self-knowledge. According to Montaigne, idleness permits self-directedness, and it is an ideal form in which to practice the freedom of thought that brings about consistency in writing, living and reality, in all of which Montaigne finds one general property - complete inconstancy. Socratic self-knowledge, a skepticism derived from Pyrrho of Elis and Sextus Empiricus, and a rejection of the conventions of traditional rhetoric that was similar to Seneca’s critique of it were all brought to bear on the concept of idleness and made Montaigne’s intellectual and literary experimentation in the Essays possible.

Sign in / Sign up

Export Citation Format

Share Document