scholarly journals Imágenes de otros mundos. La alianza entre pintura y videojuego.

2019 ◽  
Author(s):  
Francisco De la Torre Oliver
Keyword(s):  
Hudson River ◽  
Hudson River School ◽  
Siglo Xx

La industria del videojuego ha encontrado en la pintura el medio donde visualizar sus propios mundos ¿Podría suponer el desarrollo de los videojuegos AAA una revalorización de la pintura naturalista convirtiendo al concept artist en el nuevo pintor del siglo XXI? Objetivos que nos planteamos:Revisar la creación de imágenes de mundos en la pintura.Estudiar el papel del concept artist en la industria del videojuego.Desarrollar el análisis de un caso práctico actual. El arte tiene la capacidad de representar una imagen del mundo coherente con los planteamientos ideológicos desde los que se desarrolla. La pintura ha satisfecho, a lo largo de su historia, la necesidad del hombre de crear una imagen del mundo, una representación del mundo e imaginar nuevos mundos. Una práctica que conectaría con el concepto de Mundo abierto desarrollado en los videojuegos actuales.Realizaremos una breve revisión de la representación de mundos en la pintura a través de su historia, desde la idealización en la Edad Media a los planteamientos experimentales de la vanguardia artística del siglo XX. Actualmente, el concept artist representaría al agente de la industria del entretenimiento encargado de desarrollar la visualización del mundo en el que se desarrollan los videojuegos. La labor de encarnar estas imágenes se realiza a través de la pintura, mediante técnicas tradicionales o digitales. De este modo, se estaría produciendo una revisión de las claves pictóricas clásicas con el objetivo de resolver problemas de representación actuales, replanteando las relaciones entre arte y diseño o cultura y entretenimiento. Para profundizar en estas cuestiones, planteamos estudiar el caso de Red Dead Redemption 2 y su relación con la Hudson River School.

Die Konstruktion von Natur – Central Park neu besichtigt | The Construction of Nature – Central Park Revisited

2005 ◽  
Vol 156 (8) ◽  
pp. 288-296
Author(s):  
Vittorio Magnago Lampugnani
Keyword(s):  
New York ◽  
Hudson River ◽  
The United States ◽  
Central Park ◽  
Housing Developments ◽  
Hudson River School ◽  
The North ◽  
Man And Nature ◽  
The 19Th Century ◽  
The Relationship

In the first half of the 19th century scientific philosophers in the United States, such as Emerson and Thoreau, began to pursue the relationship between man and nature. Painters from the Hudson River School discovered the rural spaces to the north of New York and began to celebrate the American landscape in their paintings. In many places at this time garden societies were founded, which generated widespread support for the creation of park enclosures While the first such were cemeteries with the character of parks, housing developments on the peripheries of towns were later set in generous park landscapes. However, the centres of the growing American cities also need green spaces and the so-called «park movement»reached a first high point with New York's Central Park. It was not only an experimental field for modern urban elements, but even today is a force of social cohesion.

For a Social History of the Hudson River School

American Art ◽  
2017 ◽  
Vol 31 (2) ◽  
pp. 43-45 ◽  
Author(s):  
Alan Wallach
Keyword(s):  
Social History ◽  
Hudson River ◽  
Hudson River School ◽  
History Of

The Hudson River School of Painters

1917 ◽  
Vol 12 (10) ◽  
pp. 1
Author(s):  
Bryson Burroughs
Keyword(s):  
Hudson River ◽  
Hudson River School

All That Is Glorious around Us: Paintings from the Hudson River School

1998 ◽  
Vol 18 (2) ◽  
pp. 351
Author(s):  
Elisabeth L. Roark ◽  
John Driscoll ◽  
Nancy Anderson
Keyword(s):  
Hudson River ◽  
Hudson River School

Chiaroscuro as an Artistic Device in Cooper's Fiction

PMLA ◽  
1963 ◽  
Vol 78 (4-Part1) ◽  
pp. 349-357
Author(s):  
Donald A. Ringe
Keyword(s):  
Hudson River ◽  
Natural Scene ◽  
Moral View ◽  
Extended Treatment ◽  
Hudson River School ◽  
The World ◽  
Thomas Cole ◽  
Pictorial Element ◽  
Light And Shadow

Although the pictorial element has long been recognized as an important factor in James Fenimore Cooper's descriptive style, detailed analyses of specific techniques that Cooper shared with contemporary landscape painters can still add much to our understanding of his fundamental artistry. A number of such studies have already appeared. Howard Mumford Jones has shown how Cooper's moral view of the world found a means of expression—the expansive depiction of a panoramic scene—that is strikingly similar to the typical landscape of the Hudson River School of painting, and James Franklin Beard has written of the basic artistic technique that Cooper shared with the painter Thomas Cole—the harmonization of precise details to present an ideal truth. Other studies, moreover, have pointed out a number of specific devices that Cooper and his artistic friends employed to express their related themes. One important painterly technique used by the novelist, however, has yet to be treated in detail: the chiaroscuro, or arrangement of light and shadow, that he, like the painters, included in his delineation of the natural scene. Many readers of Cooper, no doubt, have perceived the effectiveness of Cooper's carefully lighted descriptions, and comment upon them has, indeed, appeared in print. The technique, however, is so important in Cooper's art that it merits a much more extended treatment than it has yet received.

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