We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
The article below investigates the areas of influence of traditional creativity on contemporary art. Based on the examples of the jianzhi paper cutting technique, it is demonstrated how traditional themes and techniques can be applied in the creation of contemporary artists. Among them is Li Bao Yi, a well-known Japanese painter, who creates her conceptual works focused on the theme of the interaction between nature, technology and the modern aspect of urbanization.
More...
The analysis of the existing situation in the scientific field of figurative painting reveals multiple shortcomings, gaps oruncertainties, which motivate the research process and the development of specific methodologies. The methodological viewfinder focuses on summing and structuring the criteria for the analysis of figurative painting following from the area or sphere influencing the contemplation of the plastic image. All these are structured in two large compartments considered categories of the form and message within the figurative images. The proposed methodology provides a deductive sequence in the processof investigating figurative painting, by which, on the one hand, the most important scientific issues in the field are highlighted, but on the other hand, the most significant and important values promoted by figurative painting are pointed out.
More...
The image is often discussed as a tool of the communication process across many disciplines, including the history of art and aesthetics. At present, it is also becoming of importance to cognitive sciences, which until recently have focused mainly on the basic physical properties of artefacts and how these aspects are able to influence the basic variables of our perception. However, the process of visual perception and the associated mental cognition in relation to authorial intention remained a somewhat neglected aspect. The paper presents hypotheses and theories discussing the influence of artistic intent on spectator perception and the possibilities of their application in experimental research.
More...
My paper is concerned with the question how could we define art criticism? In my research I try to show that art criticism is hard to define gently enough to be able to differentiate within the amount of texts. Beside that I propose to see how was art criticism defined by different authors in the 1960s. Main three points defining critical text is relation to presence, speculative character and last but not least what I describe as engagement (political, social, cultural). These three roots are undividable from each other yet still hardly thematise and very often overseen. Acknowledge all this together I assume, we should speak about art criticisms (in plural) instead of one type of writing which could be clearly defined.
More...
To discuss a question of the possibility of a“translation” of a visual work of art into language, the paper outlines the distinction between presentational and discoursive symbols as it was conceived by Susanne Langer. It emphasizes the fact that the disctinction does not overlap with a difference between the picture and the language. Since the arts (visual as well as literary ones) are a primary example of presentational symbolism, the paper focuses on the mechanism of “swallowing” or “recruiting” a variety of material, including the discoursive one, in the creation of works of art. It is emphasized that presentational symbolism is a form of non-discoursive knowledge; a claim that, eventually, implies that works of art are liable to discoursive treatement only provisionally, with an acknowledgement of the limits of such an endeavour. The discoursive exercise of the philosophy of art is then primarily oriented towards securing the conceptual space in which artworks are granted the status of genuine knowledge.
More...
Knowledge of the world and education is traditionally based primarily on reading books, in which the main tool is the language that enables knowledge and education to be passed on to people. Since language is used to naming things and is an established means of communication, we understand it as a tool for interpreting reality, not for self-evaluation of a given reality. In this context, the image, and in our case, the work of art, is an authentic means of sensory communication, which is a direct form of communication, so its meaning is not interpreted in any way, that is, changed or enriched by other connotations and meanings. Sensory perception is thus based on the authentic experience of the recipient and creates the possibilities of language. German art psychologist Rudolf Arnheim (1904–2007) dedicated his lifelong research to the theories of sensory perception of art that lead to visual thinking. The language of art is understood as an expression medium that acts on the sensory component of human perception and thus creates the true reality of the seen. In this context, he devoted himself to the problem of analyzing the language of art, which he understood as the only authentic approach to reality. Art thus becomes a sovereign means of communication, which bringsthrough the perceptual components a new interpretation of a given reality. Sensory perception of the seen is an active and creative process of comprehension that is composed of invention and intelligence. The characters are structured within the framework of the ten major visual categories that make up the whole of the seen. Art thus reveals the true nature of things and human existence, and that is one of its main roles. In connection with these theories the devotion to art, whether as a viewer or a theorist, develop our productive thinking and help us better understand the true reality of the world in which we live. This knowledge is authentic because it is based on our own sensory experience. This is not an interpretation or a given interpretation of a thing, but a matter in itself, which primarily affects our visual senses through the empathy, subjectivity, experience, emotions and knowledge of each person. Images are the basic elements that make up the human understanding of the world and without which we would not be able to fully understand human civilization.
More...
The paper deals with the processing of the theme of active and contemplative life in three selected examples of Renaissance art, namely in Dürer’s engravings Knight, Death and the Devil and Saint Jerome in His Study and Titian’s painting Sacred and Profane Love. These three artworks were also interpreted by Erwin Panofsky. According to the Panofsky’s interpretations, the ideals of active and contemplative life in the three mentioned artworks are rendered as two mutually contrasting and incompatible ideals. After a brief introduction into the Renaissance Neo-platonic teachings on an active and contemplative life, which was also used by Panofsky in his interpretations, the paper points out that ideals of activity and contemplation depicted in the two Dürer’s engravings and in the Titian’s painting can also be interpreted as complementary and mutually penetrating ideals. Moreover, the paper points to the possibility that Erwin Panofsky was influenced by his own understanding of the subject in the perception and interpretation of the three artworks.
More...
The perception of the Stations of the Cross is constantly oscillating between visual perception and the acceptance of a verbal description. In the beginning, people taking part in historical events (Jesus Christ went to the execution with the cross in the streets of Jerusalem) perceived and experienced what others later tied to words. (Leaving aside the oral history, the first biblical text appeared in the 1st century, and the text tradition of records of the Stations of the Cross’s piety dates back to 1471.) An effort to convey the described historical event through the senses meant adding an image to the text (for the first time in 1423 or 1425). The long period of coexistence of the verbal description and the corresponding visual concepts was gradually disrupted by artists during the 20th century until its last decades in which the artists almost achieved independence of an image from the traditional theme. They did it through an emphasis on expressing inner reality and overcoming the subject reality. They created a new system of symbols suppressing the traditional Stations of the Cross’s image. This artistic concept sees a creative role in the hands of the subject, both the author of the work and his observer. As an accompaniment to this new image, another verbal description appears interpreting blank spaces between the work and the recipient. This transformation will be interpreted on the several artworks.
More...
Arthur C. Danto is considered one of the most influential analytical philosophers of art of 20th century. He introduced the notion “artworld” into the art-historical and philosophical vocabulary and he was one of the first analytical philosophers who payed attention to art of Modernism. Danto was interested in a question of art definition and offered a solution based on the principle of indiscernibles. However this solution seemed not to be a plausible one in the course of time and Danto himself decided to reconsider his definition. In the first part of this article, I concern with a characterization of art as “embodied meanings”, i.e. with Danto’s first version of definition held until his last book What Art Is was published in 2013. In the second part, I focus on criticism of Danto’s cognitivism in the article “Whatever happened to ‘embodiment’? The eclipse of materiality in Danto’s ontology of art” by Diarmuid Costello. Costello argues that Danto’s notion of interpretation is not sufficient for our treating artworks as artworks and that it was Danto’s insufficient attention to interaction of a meaning of an artwork and its embodiment which is responsible for this mistake. In the last section of this paper, I shall compare Costello’s strictures on Danto’s art definition with Danto’s revisited version introduced in What Art Is. My aim is to answer the question whether this version of definition is more resistant to Costello’s criticism or not.
More...
The article is about interactions between two disciplines: the history of art and neurology. Scientific researches in the field of neurology discover new perspectives in the humanitarian disciplines, including the art history. The article draws attention to two current themes: to the research of human empathy and mechanisms of bottom-up and topdown processing in visual perception. Those two parts the author of the article connects with the theory of art in Italy in the era of Renaissance. An unexpected comparison of discoveries in the field of neurology with the theory of the 16th century demonstrates, how useful can be the cooperation of the two disciplines. In the end of the article are proposed questions and tasks, with which the art history can deal in the light of scientific discoveries.
More...
As a documentation material, the text is often overshadowed by photography – but unlike photography, it can mediate the processual character of performance art. In terms of form, it is possible to discern a typology of texts and assign each type to a particular literary genre. This paper is concerned with the description of an art event, which can be defined as the literary genre of “ekphrasis” (the discipline of art pieces description). Depending on the nature of the artwork, both ekphrasis and descriptions of art events are produced in between narration and description, as well as oscillate between interpretation and pure description. To illustrate this, several examples from the Czech scene of the 1960s to 1980s will be presented. Not only the content of the text but also its form determines our “reading” of the described artwork – in this case, the reception of art events of the last decades.
More...
Through an inference quite frequently invoked in the specialized doctrine, the museum is a pretext to expose a fragment of the past or a more or less utopian context. Perhaps more than ever we can say that an open-air museum is one of the most viable options when it comes to leisure and through this study we aim to bring back its role in the current cultural landscape. Moreover, we will draw some guidelines on the concept of vernacular, a concept often corroborated with architecture. At the same time, expressis verbis we will point out the interdependence between the notion of patrimony, approached ut singuli and other fields more or less auxiliary to it.
More...
Review essay on the latest exhibition of Margit Soó Zöld, contemporary Hungarian painter distinguished with the Munkácsy award, held at the Transylvanian Hungarian Art Center.
More...
This essay is inspired by an exhibition of Teodor Botiş, a plastic artist from Cluj, which took place on the evening of September 27, 2018, at the Art Museum in Cluj-Napoca. From one image to the other in the chromatic universe of Teodor Botiş, everything is radiating something timeless, mythical and oniric. Taking on an idea of Nichita Stănescu, Teodor Botiş’ Patria is the color, the wonder, the poetry and the longing, the patience and the trust in salvation in the language and art and the dream of the Nation. Teodor Botiş is a singular eminence in art, imagining and interfering with two worlds - a sublime, pure and golden one, breathing such godliness, and another, with an innocent wonder, still trying to escape resignation and being saved by beauty.
More...
Picu Procopie Pătruţ remained in the consciousness of our religious and secular culture as a last great miniaturist and poet, making a naive gesture in the book’s world of adornment. His message after a century since his passing into eternity is part of this sophos of Romanian life ever. This Anton Pann of Transylvania kept alive and awake the conscience of our nation and country.
More...
This article analyzes the painting of iconographer Simion Silaghi Sălăgeanu at St Mihail’s church in Vinţa village, Lupşa commune. In the introduction we present our approach and in the second part we describe the iconographic program made by Simion Silaghi in this church, a program that is still completely preserved in the narthex, nave and in the altar. In the third part we propose an interpretation of the iconographic program from Vinţa church and present the icon painter Simion Silaghi Sălăgeanu, also discussing the challenges he encounters, while in the last part we contextualize the iconographic work of Silaghi Sălăgeanu and discuss its topicality, as well as the deciphering keys of the iconographic language. At the end we conclude that Simion Silaghi Sălăgeanu’s work deserves and must be rendered to the Romanian and universal artistic and religious heritage.
More...
„Promenade towards Triumph” is a subtle interpretation of the „Triumph” exhibition of Virgil Scripcariu from Bucovina, a series of six works, bronze prints of ten human and two zoomorphic characters and their experiences. The hermeneutic author insists on the symbolic core of the whole series, entitled „Maternity”, more precisely on the over-heavenly world and the under-earthly world.
More...
Michelangelo’s Pieta is one of the sculptures that reveal to the viewer the blessing of a brilliant mind. In order to understand such a masterpiece, the novice must decode the message that the sculptor has left to posterity. This illustrious genius falls into the category of perfect protagonists, La Pieta being a challenge for all times. The metaphysical complexity of his creation shows his spiritual enlightenment.
More...