Painting

L’arrivée d’artistes formés en Europe, l’émergence d’autodidactes locaux, l’existence de lieux et paysages originaux ont permis à la peinture de se développer rapidement en Amérique du Nord. Certains artistes se sont consacrés à des « vues » de lieux bien définis. Ils devaient les représenter avec fidélité, se permettant au plus quelques embellissements. Les aquarellistes voyageurs et amateurs, comme George Heriot, ont ainsi laissé des œuvres délicates et de grande beauté. Des femmes éduquées, comme la baronne Hyde de Neuville, s’exerçaient avec talent au dessin et à l’aquarelle, devant les scènes offertes par leur vie personnelle.

D’autres artistes, plus ambitieux, devenus professionnels, travaillant au chevalet, considéraient les paysages comme des objets naturels méritant l’exactitude mais pouvant aussi être transformés ou chargés d’un sens dépassant celui de la simple perception visuelle. Sur ces nouveaux principes, Thomas Cole a fondé la Hudson School of Painting. Une floraison de peintres renommés a suivi ce premier maître d’un art du paysage authentiquement américain. Avec George Catlin et Karl Bodmer, le travail de l’artiste s’apparente à un reportage. Tout est représenté, lieux, paysages, personnages, événements.

Le grand artiste naturaliste John James Audubon, contemporain de Thomas Cole, abordait la représentation des lieux et paysages comme de simples décors à ses portraits d’oiseaux. Sa vie donne au livre la trame d’un parcours à travers l’art américain, dans la première moitié du 19ème siècle et sur l’ensemble des régions formant alors les États-Unis et le Canada, de la Floride au Sud jusqu’au Québec et l’embouchure du Saint Laurent au Nord.

On the lower walls of the Upper Church at Assissi there is a series of frescoes (1297-1300) by Giotto that celebrate the life of St Francis as recounted in Bonaventure’s life of the saint (from which excerpts are found beneath each fresco). One of these frescoes, The Crib at Greccio, shows an unusual view of the exposed carpentry on the verso of the cross fixed above the doorway of the solid tramezzo screen that divides the chorus from the nave. The lecture explores the issue of whether the purpose of this view strangely occluded cross is to interrupt the customary focus of the devout on the mass that takes place on the frontal side of the cross on the other side of the screen. Would this increase the emotional impact of the miraculous vision associated with St Francis’s unprecedented nativity play (that other mass) taking place in the chorus with priest, the saint himself, monks and leading citizens of the city? What is the significance of displacing the scene from its humble hill town setting at Greccio to this new setting in the wealthy Franciscan church pictured in the fresco? Does this deviation from the Bonaventure’s text increase the prestige of the order without destroying the spontaneity of the event? Does it constitute a precedent for liturgy with fresh and moving ideological connotations? Finally, is the setting of the nativity drama in the chorus a ‘front region’ masquerading as a ‘back region’ (in Irving Goffmann’s terms) providing worshippers in the actual church with an especially privileged and emotional identification with the events taking place within the fictional church? Contrasts will be made with Duccio’s double-sided Maestà at Siena, and innovative use will be made of the theories of indeterminacy attributed to the ‘wrong’ sides of things by philosophers such as Edmund Husserl, Luc Ferry and Jan Patocka.

»Es gibt keine Materialität außer der der Farbe.<< Friedemann Hahn I Traditionellerweise wird in der Kunstgeschichte zwischen dem Eigen­ wert und dem Darstellungswert einer Farbe unterschieden. Sie geht im Wesentlichen auf den Kunsthistoriker Hans Jantzen zurück, der diese Unterscheidung 1913 in seinem Buch über den gotischen Kirchenraum formulierte. 1 Jantzen unterscheidet den »Eigenwert« und den »Darstel­ lungswert« einer Farbe. Er spricht vom Eigenwert, wenn die Farbe weitgehend losgelöst von j edem Bildgegenstand verwendet wird, wie z.B. in der mittelalterlichen Glasmalerei. Sobald die Malerei aber »natur­ nachahmend« wird, schränkt sie den Eigenwert der Farbe ein und betont deren Darstellungswert. Farbe wird dann als Anweisung an die Farb­ materie verstanden. Sie wird in ihrer Gegenstandsreferenz gesehen und kennzeichnet ihre Stofflichkeit, Gegenständlichkeit und Lokalisation im Raum. Die Unterscheidung Hans Jantzens wird seither immer noch zur Charakterisierung farblicher Eigenschaften benutzt, obwohl diese Unterscheidung zwei große Probleme mit sich trägt. Zum ersten Problem kann man kurz anführen, daß man heute Eigenschaften als Resultate der Unterscheidung und Bezeichnung eines Beobachters auffaßt, sie also als eine Beobachterkategorie einführt. Wenn man dagegen Eigenwerte als obj ektiven Besitz von Gegenständen auf­ faßt, dann wird suggeriert, daß Farbe eine Eigenschaft hätte, die ihr auf irgendeine Art und Weise zu »eigen« wäre, unabhängig von jeglichem Vorgang der Beobachtung oder Erfahrung. 2 Damit verschenkt man aber die bereits längst gewonnenen, erkenntnistheoretischen Ausgangs­ punkte, wonach Farbeigenschaften Resultate der Beobachtung und Erfahrung sind. Vielmehr bietet es sich heute an, »Eigenwert« und »Darstellungswert« einer Farbe in den Begriffen Selbstreferenz und Fremdreferenz zu reformulieren. Dann wird nämlich deutlich, daß sog. »Eigenwerte << im Prinzip selbstreferentielle Operationsformen eines Zeichensystems sind und immer die Unterscheidung eines Beobachters bleiben. »Darstellungswerte« sind dann als fremdreferentielle Opera­ tionsformen des Systems zu reformulieren, die auf Zusammenhänge verweisen, die selbst nicht im System anwesend sind, auf die nur mit den Mitteln des Systems verwiesen werden kann. 3 Auch dies ist nur als Unterscheidung eines Beobachters zu haben. Der Beobachter konstruiert

La figura femenina a dos décadas del siglo XXI ha ocupado un lugar importante en la sociedad, sin embargo, en el arte mexicano del siglo XX el papel más importante de la mujer sólo pertenecía al de la musa. Hoy en día es posible dar crédito a aquellas mujeres creadoras que fueron subestimadas por su género, a pesar de tener el 1 talento para ser reconocidas. Uno de los propósitos de este texto es analizar tres autorretratos pictóricos realizados por mujeres mexicanas María Izquierdo, Rosa Rolanda y Nahuí Olin para comprender tanto sus biografías como la época en la que vivieron. De tal manera, al analizar cada obra, hay rastros de la identidad mexicana, de un espacio político, de supuestos filosóficos del sujeto que permiten al arte darle un valor trascendental. En cuanto a la metodología, se presenta la propuesta de análisis a profundidad por medio del método iconográfico, teoría semiótica y la filosofía de la imagen.

Il Concilio di Trento (1545-1563) determinò nuove esigenze liturgiche, che portarono a una rapida trasformazione e a un drastico rinnovamento delle chiese sia dal punto di vista strutturale che dell’arredo. Questo articolo desidera indagare i caratteri fondamentali di un fenomeno poco conosciuto e sicuramente sottovalutato della storia dell’arte moderna legata a questi cambiamenti: la ri-funzionalizzazione delle immagini medievali e bizantine, prendendo come esempio il caso toscano. In particolare verrà evidenziato come la percezione da parte dei fedeli di queste immagini si evolva nel corso dei secoli.


http://journalabyme.wix.com/mise-en-abyme

Cette anthologie analytique a été élaborée dans la continuité de la thèse de doctorat à partir d’une sélection de 1660 textes écrits par le théoricien de l’Art corporel, sociologique et critique, François Pluchart, fondateur des revues "arTitudes" (1971-72), "arTitudes international" (1975-77) et "L’Art vivant" (1984-85).

Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in Preston, UK, showcased here to promote critical discussion on Outdoor issues and foster pedagogical progress wherever that may be found. This introduction outlines the structure of the book, which also illuminates the plan of teaching that has brought about such a vibrant collection of chapters. The ethos of my educational mission has been for students to become philosophical about things, ‘having ideas’ with a view to making a comment about some state of affairs in the Outdoors. With a nugget of an idea latched on to, fuelled with some passion, the next step was to transform that idea into some physical presence through an artistic medium; shape it. Thereafter, the academic task was to polish and present the artwork with a supporting chapter, in order to communicate their idea to the world; share it. The creation of art in this context was always a means to an educational end, the artworks being an impressive by-product from this experience – but now the artworks are leading the show, representing the style of education we enjoyed. It seems worth mentioning at the outset, that all the Outdoor students I have taught are not artists, they are climbers, canoeists and mountaineers. They never came to university to do or study art and nor did I teach them as such. If I have done anything, it was to free up the possibility of thinking slightly differently about topics they chose, and then equip them with some basic artistic tools to play with those ideas. As a result, I discovered a huge increase in student confidence and a palpable increase in enjoyment of learning, as much for me as their teacher as for them. In effect, what I did was invite into my classroom a raft of untapped talent in thinking and learning that suddenly had a place in their university degrees.

Rhythm lies in the movement of the universe. Consequently, it lies in the nature of humans. Artists try hard to pick up the different rhythms expressed, as the ancient Egyptian artists felt this hidden pulse of nature and recorded it in private art formulations, and kept track of subtle rhythms in all aspects of life, for example they scored the rhythm of the Nile stream movement, rhythm stalks of Egyptian plants scattered from north to south and other tunes that filled the walls of temples and papyri.
    Rhythm is a configuration of elements in the artwork, but an element hard to explain in words. The closest thing that comes to mind is the auditory rhythm, that rhythm, which is in the music, which is based on the time differences between the sound and the other. Therefore, at the beginning of the use of this term it was commonly associated with music, then was borrowed and traded in the field of Fine Arts. But it may be difficult to interpret the rhythm that we see into the paintings to represent a visible pulse. The pulse pattern represents rhythm and tempo, for example the color in the painting can convey the rhythm and can force our eyes to move from item to item, as well as the line can convey our rhythm physically.
        Rhythm can be described as a movement chronometer in a vacuum or in other words a road connected through eye tracking orderly arrangement of certain elements. Generates system in the configuration, it is a continuous chant of a system. So in Fine Art is a dynamic phenomenon of rhythm (kinetics) and not static (static). Where the rhythm is fundamentally related to the idea of movement, it depends largely on racial pattern. The concept of rhythm in art represents the eye movement of the viewer to follow the systematic arrangement or over certain elements in the artwork.
      Repetition or repeating a visual element, on a regular basis within the artwork may generate rhythm visually surprising, mutual or sequential. The harmony and organization of the spaces between the elements of size or color; even if it differed in the fall or rise, widening or narrowing spaces, superficial lines or to deepen them which creates a kind of emotion to the viewer's eye. So the artist requires extreme control frequencies and duplicates so that the results do not convey adverse effects such as the spectators boredom or a state of distress. It is imperative that the technical formulations are studied and adapted to emit such a situation.
  What we call the Maiden grass with its colors, forms, and flowers, which bloom create scenes to adorn the bodies of water towering black, then yellow, then dry and bright dark yellow. This wild Egyptian Maiden grass spreads to the edges of canals and drains and lakes of northern Egypt to the south, our eyes are accustomed sometimes to ignore the existence of it but we do not dare to approach it because it is something unknown on the inside. Every time we see and think about it we find that the Maiden grass forms a dialogue with the wind and the water exchanging a dialogue audible between them, sometimes low and sometimes noisy which inspires us to think in the same way the old ancient Egyptian artists thought, the dialogue calls for meditation and contemplation of the Maiden grass, wind and water. The Ancient Egyptian artist was able to express all that he sees sincerity and simplicity and strength.
    By inspiration the Egyptian painter used this maiden grass of Egypt in her exhibition boards to become the subject of applied research for rhythm and its role in painting composition, the possibility of diversification, the difference in color and linear rhythms and different impressions of the events, despite the stability of the element reach.
    In this experiment the painter does not rely entirely on the natural colors of the maiden grass but uses her own sense of the glow of sunshine and its implications of the constancy of the changing temperature in the sky.
 
     
الإيقاع ظاهرة تكمن في حركة الكون، كتتابع الليل والنهار، اشــتداد الريح وسرعتها، تدافع وتتابع الأمواج، حركة السحب في السماء، انتظام هطــول قطرات الامطار، تعاقب الفصول الاربعة، ودوران الأرض والشمس والقمر. فالإيقاع يصدر من طـــبيعة الكـــون أو كامن داخلهما. بالتبعية يكمن في طبيعة الإنسان، مثل ايقاع في انتظام نبض القلب والتنفس.  والفنان المصور يحاول جاهدا ان يلتقط الايقاعات المختلفة في المحيط الخاص به والتعبير عنها في لوحاته، مثلما استطاع الفنان المصري القديم تأمل هذا النبض الخفي في الطبيعة وسجله في صياغاته الفنية الخاصة، وتتبع ايقاعات خفية في كل اوجه الحياة، فسجل ايقاع حركة تيار النيل، وايقاع سيقان نباتاته المصرية المنتشرة من الشمال الى الجنوب وغيرها من الايقاعات التي ملأ بها جدران المعابد والبرديات.
      والإيقاع هو أحد عناصر التكوين في العمل الفني، ولكنه عنصرا من الصعب شرحه في كلمات. فأقرب ما يخطر على الذهن هو الايقاع السمعي، ذلك الايقاع المتواجد في الموسيقى، الذي يعتمد على الفروق الزمنية بين الصوت والاخر.  ولذلك في بداية استخدام هذا المصطلح ارتبط بالموسيقى، ثم تم استعارته وتداوله في مجال الفنون التشكيلية. ولكن قد يصعب تفسير الايقاع الذي نراه في اللوحات فهو يمثل نبضا مرئيا. والنبض هو نمط الايقاع ولكن ليس كل ايقاع نبضا، مثالا على ذلك اللون في اللوحة يمكن ان ينقل ايقاعا ويستطيع أن يجبر اعيينا على الانتـــقال من عنصر الى اخر، كذلك الخط يمكن ان ينقل لنا ايقاعا حركيا.
    يمكن وصف الايقاع كحركة ميقاتيه في فراغ ما أو بمعنى أخر طريقا متصلا من خلاله تتبع العين ترتـــــيب منتظم لعناصر معينة.  فالإيقاع يولد نظاما في التكوين، فهو ترديد متواصل لنظام ما. لذلك في الفن التشكيلى يعتبر الإيقاع ظاهرة ديناميــكية (حركــــــية) وليســـت استاتيـــكية (ساكنة). حيث أن الإيقاع يرتبط في الأساس بفكرة الحركة، وتحقيقه يعتمد إلى حد كبير على عنصري النمط والحركة.  مفهوم الايقاع في الفن يمثل حركة عين المشاهد في تتبع الترتيب المنتظم أو تكرارا معينا لعناصر في العمل الفني.
    والترديد او التكرار لعنصر مرئي ما، بصورة منتظمة داخل العمل الفني قد يولد إيقاعا بصريا مفاجئاً أو متبادلاً أو متتابعاً. والترديد المتناغم وتنظيم الفراغات بين العناصر بالحجم أو بالألوان؛ حتى ولو اختلفت في الانخفاض أو الارتفاع، في اتساع المساحات أو تضييقها، سطحية الخطوط أو تعميقها؛ يخلق نوعا من الانفعال لعين المشاهد. لذا يتطلب من الفنان التحكم الشديد في الترددات والتكرارات حتى لا تكون النتائج عكسية ويصيب المتفرج الملل أو حالة من الضيق.  لذا لابد أن تكون الصياغات الفنية مدروسة ومتلائمة وتنبعث من الحالة التي تسود العمل الفني حتى يتحقق ايقاعا يخدم غاية الفنان.
لوحات المعرض
      الايقاع يصدر من الكون أو كامن داخله، خفيا كان أو ظاهرا، فهو في الحياة، الوقت، والمكان.  فالإيقاع سكون وحركة في كل شيء. تمثلت أمامي ايقاعات الحياة التي تبدو منتظمة ورتيبة ومتشابهة ولكن سرعان ما ينقلب الحال ويتحول المنتظم الرتيب الى فوران وغليان في تداخل صعب فصله، وتتلاعب بنا الأحداث وهي تنقلب الى النقيض كما تتلاعب الرياح بالغاب على طول ضفاف النيل.
        هذا النبت المصري البري المنتشر على حواف الترع والمصارف والبحيرات من شمال مصر إلى جنوبها، اعتادت اعيننا أحيانا وتجاهلت وجوده احيانا أخرى. غاب الريح أو ما نطلق عليه (الهيش) بإيقاعاته، تكويناته، ألوانه، اشكاله، وازهاره التي تتفتح وتزين مشاهد المسطحات المائية بالأبيض الشاهق، ثم الاصفر الزاهي ثم بالأصفر الجاف والقاتم.
    ولكن لا نجرؤ على الاقتراب منه لأنه يخفى المجهول داخله طالما ما تأملته وتأملت تلاعب الريح به، فالغاب يتحاور مع الريح والماء ويتبادلون حوارا مسموعا خفيضا احيانا أو صاخبا، بين هفيف الريح وخرير الماء وحفيف الغاب.  حوارا يدعو الى التأمل كما تأمله الفنان المصري القديم وتحاور معه واستمع الى اسراره. فاستطاع التعبير عن كل ما يراه بصدق وبساطة وقوة.
      استلهمت الباحثة من هذا العنصر المصري للوحات معرضها ليكون موضوع البحث التطبيقي عن الايقاع ودوره في تكوين اللوحة الفنية وامكانية التنويع والاختلاف في الايقاعات اللونية والخطية واحداث انطباعات مختلفة برغم من ثبات العنصر المتناول.
  وفى هذه التجربة لم تعتمد الباحثة على الالوان الطبيعية لنبات الغاب بشكل رئيسي لكن في أغلب الاحيان على انطباعاتها الخاصة واحساسها بوهج ضوء الشمس وانعكاساته، وانعكاسات درجات السماء المصرية المتغيرة دائما.

Publication des actes de ce colloque consacré à Corot, dont j’étais avec V. Pomarède le directeur scientifique pour la partie parisienne. Je suis le directeur de l’édition scientifique de cette première partie.

-- LE PDF CONTIENT :
- La table des matières.
- Les deux préfaces.
- L''addendum au catalogue de l'exposition de 1996 (datation de 25 tableaux).
- Le plan des trois index.

-- POUR CITER CET OUVRAGE :
G. Wallens, V. Pomarède, C. Stefani (ouvrage collectif sous la co dir. de) Corot, un artiste et son temps, Actes des colloques organisés au Musée du Louvre les 1er et 2 mars 1996 et à l'Académie de France à Rome, Villa Médicis, le 9 mars 1996, Paris, 1998, 616 p.

Le succès rapide que connut la facture traditionnelle de Robert Boyvin dans les années 1490 et son adaptation difficile au contexte des années 1510, marquées par l’adoption croissante du goût à l’antique, font de lui un témoin privilégié de la période hybride que constitue le règne de Louis XII pour les arts de la couleur en France. Sans vouloir faire de Robert Boyvin l’artiste original qu’il n’était pas, je souhaite revenir sur la carrière de cet enlumineur fécond pour mieux saisir la nature de la production rouennaise vers 1500.

À cette fin, j’interrogerai pour chaque décennie de son activité reconnue, de 1480 à 1520 environ, l’évolution de sa situation par la répartition de sa production entre œuvres d’étal et commandes, l’identité de ses collaborateurs réguliers et ponctuels et l’ouverture de son art aux milieux rouennais, tourangeau et parisien. Cette étude offre également l’occasion d’introduire vingt-trois manuscrits inédits, méconnus ou apparus depuis 1995, qui font de la production de Robert Boyvin l’une des plus importantes de son temps, avec au moins quatre-vingts manuscrits conservés.

Actes du colloque international organisé à Genève les 28 et 29 avril 2017.

This thesis compares Art Movement (New Wave Art) in China with that in Korea in 1980s. Although both of them arise around the same time, there are huge differences between them in that Abstract Expressionism and Realism, and a ideological emancipation and a pro-democracy movement. 
  Art movements of the two countries reflect reality and oppose to existing traditional art. Comparing character, space and time in work of a Chinese artist whose name is Wang Guangyi, Frozen North Pole No.1 and work of a Korean artist whose name is
Min Junggi, Conversation, it turns out that they have western surrealism language in common.
Surrealism language which is represented by Giorgio De Chirico, Rene Magritte and Salvador Dali is manifested by artists of China and Korea not only in expressions of character and space-time but also in application of collage. Focusing on this point, this paper deals with how surrealism could be absorbed and presented in painting of China and Korea, what the similarities and differences are and what roles of the times and surrealism language.
Artists of China and Korea intend to show the reality that is being faced by using surrealism language. They express their thought about reality, either directly or indirectly. Although aspect of visual language has changed, it is the result of following the stream of times. Artists who reflect reality into their works contribute to establish a basis of modernity of contemporary art.
This study examines whether the common denominator which is found in Art Movements of both countries in 1980s is certainly surrealism language, and finally ruminates on the  modern  essence of contemporary art through painting of Art Movement.

A MOST HAVE FOR THE ART HISTORIAN!

Dopo la pubblicazione del primo tomo, che raccoglie il patrimonio architettonico e artistico del Fondo Edifici di Culto di 129 luoghi di culto presenti in Piemonte, Veneto, Liguria, Emilia Romagna, Toscana, Marche, Umbria e Abruzzo, L' ERMA in collaborazione con il Ministero dell' Interno prosegue l' opera con il secondo tomo che conterrà il patrimonio artistico-culturale di Roma e del Lazio. Gli edifici di culto raccolti in questo secondo tomo sono 191 di cui 120 sul territorio laziale e 71 nella capitale. Tra i più importanti edifici a Roma ricordiamo Sant' Andrea al Quirinale, Sant' Andrea della Valle, Santa Croce in Gerusalemme, la Basilica di SS. Giovanni e Paolo al Celio, Santa Maria del Popolo, Santa Maria in Aracoeli al Campidoglio, senza però tralasciare tutti gli altri edifici di culto con i loro relativi patrimoni artistici presenti sul territorio romano e laziale.

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Il Corpus Del Fondo Edifici Di Culto è una prestigiosa enciclopedia costituita da 4 volumi, di assoluto valore scientifico in cui saranno illustrati, attraverso delle schede e per mezzo di foto a colori di alta qualità, tutti gli edifici di culto facenti parte del patrimonio del Fondo Edifici di Culto del Ministero dell' Interno e tutto il patrimonio artistico-culturale in essi contenuti; il patrimonio del F.E.C., è costituito da oltre 730 edifici di culto di grandissimo pregio storico, architettonico, artistico e culturale, dislocati su tutto il territorio nazionale aperti al pubblico e concessi in uso gratuito all'Autorità Ecclesiastica ma gestiti dal Fondo Edifici di Culto, amministrato dalla Direzione Centrale per l' amministrazione del Fondo Edifici di Culto del Ministero dell' Interno. L' importanza dell' opera sarà messa in risalto dalla elegante veste editoriale dei 4 lussuosi volumi imperdibili per gli studiosi del settore ed i collezionisti.

The American painter Cy Twombly is an artist who is greatly interested in poetry and especially in Mallarmé. This article examines the relationship between the poet and the painter. Using an interdisciplinary approach it tries to show how both of them use a similar technique which allows them to produce works which lie half-way between both arts.

One of Leonardo's first approaches to the L ast Sup p e r project was probably to organise its proportional relationship with respect to its place in the refectory. To do this, he had to negotiate the proportional and measured differences between three basic forms of the L ast Sup p e r's dimensions: its place on the north wall, and its natural perspective (p ro sp e ttiva se m p lic e ), and the proposed pictorial grid of its perspective screen. In the following discussion, I propose that available post-restoration surface marks reveal a number of his proportional estimates of the painting's placement, perspective, geometrical divisions. In general, this study will not produce an in-depth study of his design procedures, mainly because the sequences and exact characteristics of these initial decisions are impossible to calculate. At best, the following approach will extrapolate from the evidence clues about the painting's initial proportional arrangements. What appears to be the L ast Sup p e r's perspective screen, or surface grid, includes proportional geometry as well as proportional linear adjustments unrelated to the general perspective layout. It would be incorrect to confuse the surface geometry of the pictorial grid with the initial perspective geometry of the proposed pictorial illusion, since the former grid usually includes visual adjustments that reduce the dramatic effects resulting from the visually awkward geometry of the latter simple perspective. To cope with these visual problems, Leonardo wrote in the years following 1507 about the differences between natural and artificial perspective (p ro sp e ttiva se m p lic e and p ro sp e ttiva ac c id e ntale ). One can trace back to the time of Egyptian wall paintings two distinct canons of proportional methodology, first, the theories of formal metrological and proportional standards (such as Albertian c o nstruzio ne le g ittim a in the present case), and second, the practices of applying proportional surface grids (as with approaches to the pictorial grids of artificial perspective in the present case). Leonardo referred to the surface grid of the perspective screen as the "p arie te ".

This is the entire book.

"Why Are Our Pictures Puzzles?" is an attempt to understand why scholars have begun writing at such tremendous length on individual pictures. Before the 20th c., one of the longest texts on a single painting was Vasari's description of Leonardo's "Last Supper." In the last forty years it has become common for historians to write entire books on individual artworks.

Why have we started experiencing images as so complex? Why do they seem to us like puzzles, waiting to be solved? Why doesn't it concern us that previous generations did not think of writing at such length?

This book also has a couple of chapters on what I consider to be psychotic behavior about images: compulsive sighting of supposedly hidden images, and a crazy art historical book about a painting written by Dalí. So I have tagged the book with psychoanalytic terms.

The book itself is still in print and in copyright, but I found a full pdf of this on the internet (for example on scribd), so I decided to post it on here on academia.edu, where at least it can have the correct context and links.

Il Post Scriptum aggiunge ulteriori riflessioni alla scheda sui due frammenti inediti di Jacopo Bassano raffiguranti la "Vergine" e un "Pastore" redatta nel 2019 per l'esposizione presso Banca Mediolanum a Bassano del Grappa. L'intervento è inserito nel numero speciale del Notiziario che gli Amici dei Musei hanno pubblicato per celebrare il dono dei quadri al locale Museo Civico nel 2021 grazie a una raccolta fondi e si concentra sul problema delle repliche nella bottega dei Bassano, ma anche sull'ipotesi di una possibile provenienza antica dei pezzi dalla collezione Ludovisi.

The periphery of the Situationist International is in danger of coming to look more interesting than the main event. Jacqueline de Jong—whose condensed but potent retrospective Imaginary Disobedience was on view at the Los Angeles gallery Château Shatto—belonged to the group from around 1960 to 1962, when she was either expelled or resigned (the difference appears to be academic).

The dissertation, titled La committenza artistica dei Templari e degli Ospitalieri in Emilia Romagna, tries, through a multidisciplinary approach, to reconstruct the artistic heritage of two monastic and chivalrous Orders in the region. The dissertation was conceived in order to reflect, also in the structural level, the survey methodology: the first chapter was dedicated to an historical analysis of the two Orders, with particular attention to the relation between them and the art-world; the second chapter, instead, was focused on the relating artistic historiography and on a challenging archive investigations, that, above all through the use of an extensive and unpublished documentation, permitted to reveal new elements for a better understanding of the settlements’ net and their decoration. The research continued with the specific historic and artistic reconstruction of the commanderies: through a survey about the specific settlements, I tried to point out the artistic and historic events of its protagonists. Subsequently, without claiming to draw conclusions in a work that necessarily is in becoming, I developed some reflections on the nature, the limits, the characteristics and developments of the artistic patronage. Finally, the card’s stylistic analysis completed my investigation, giving meaning to the historic and documentary surveys. In this way I rediscovered an extensive and articulated artistic heritage that combines masterpieces and more modest works, but in any case capable of delineating the history of their authors (some of them, like Aristotele Fioravanti, Girolamo da Treviso, Pietro Bembo and Ranuccio Farnese, real protagonists of the time), in a continue and substantial dialogue with the artistic cultures that crossed the region, and not only the region, between Middle Age and Early Modernity.

Bringing together interdisciplinary leaders in methodology and arts-based research (ABR), this comprehensive handbook explores the synergies between artistic and research practices and addresses issues in designing, implementing, evaluating, and publishing ABR studies. Coverage includes the full range of ABR genres, including those based in literature (such as narrative and poetic inquiry); performance (music, dance, playbuilding); visual arts (drawing and painting, collage, installation art, comics); and audiovisual and multimethod approaches. Each genre is described in detail and brought to life with robust research examples. Team approaches, ethics, and public scholarship are discussed, as are innovative ways that ABR is used within creative arts therapies, psychology, education, sociology, health sciences, business, and other disciplines.

A MOST HAVE FOR ART HISTORIANS!

Proviamo a tornare indietro nel tempo, al fatale 1866. Quell' anno si completava una fase legislativa cominciata sedici anni prima nel Regno di Sardegna con le leggi Siccardi, veniva infatti emanata la legge post-unitaria che soppresse le Corporazioni religiose. Nel 1867 il governo Rattazzi diede avvio alla liquidazione dell' asse ecclesiastico, la parte cattolica si affrettò a definire eversive entrambe le leggi. Da un giorno all' altro, con un semplice tratto di penna, un ordine clericale e feudale sedimentato stratificato e rimasto immutato nei secoli, collassava e si scioglieva rovinosamente.
Passavano alla proprietà e all' uso dello Stato gli edifici di Congregazioni, di monasteri, di conventi subito trasformati in tribunali e in scuole, in ospedali e in ospizi, in galere e in caserme. Una quantità incommensurabile di oggetti d' arte mobili affluiva in massa sul mercato facendo la fortuna di miriadi di antiquari fra i quali primeggiava il mercante internazionale Stefano Bardini. Ciò che non finiva disperso o distrutto, (ed era la parte di gran lunga più grande) alimentò per decenni sia il collezionismo privato che quello pubblico; l' uno e l' altro, nelle miserrime condizioni economiche dell' Italia di allora, a destinazione quasi esclusivamente straniera.
Colossali devastazioni, perdite immense ha provocato la demanializzazione del patrimonio ecclesiastico. Evento forse necessario nella fase di passaggio del nostro Paese dall' Antico Regime alla Modernità e tuttavia brutale, doloroso, destinato a lasciare nella coscienza civile degli italiani ferite rimaste a lungo aperte.
Nel vasto naufragio si salvarono dall' uso improprio gli edifici di culto insieme a limitate porzioni dei complessi monumentali più legate o più contigue al culto. Si salvarono perché protette dalla devozione popolare, dalla letteratura, dalla fama degli artisti che vi erano rappresentati, dal loro essere, in maniera più o meno significativa, documenti della storia e della identità nazionali.
I luoghi sacri conservati al culto pubblico rimasero alla proprietà e quindi alla gestione dello Stato mentre l' autorità religiosa ne assumeva la regolare officiatura. Al F.E.C. (Fondo Edifici di Culto), sono oggi affidate oltre 750 chiese, meno dell' uno per cento del totale (calcolato in circa centomila unità) degli antichi edifici destinati alla pratica religiosa cattolica; dalla Martorana di Palermo a Santa Maria della Misericordia di Taggia, affascinante pinacoteca di pittura ligure-piemontese-fiamminga; da Santa Maria Novella di Firenze a San Bernardino di Aquila, che il terremoto del 2009 ha fatto sentire a tutti noi dolorosamente vicino; dal San Domenico di Napoli, dove dormono i re angioini e aragonesi e Tommaso scrisse la sua Summa Teologia, al Santuario di Fontanellato a Parma, prodigio di eleganza barocca e rococò.
Chi abita da cittadino o attraversa da turista l' Italia storica è difficile che conosca lo status giuridico delle tante chiese dislocate sul territorio nazionale. Del resto che la croce dipinta da Giotto in Santa Maria Novella a Firenze, che i Caravaggio conservati nella Cappella Cerasi di Santa Maria del Popolo a Roma, appartengano allo Stato o all' ente parrocchia o all' ordinario diocesano o alla congregazione religiosa che custodisce quel luogo, apparirà al visitatore irrilevante. Altro è ciò che interessa. Interessano la buona fruibilità di quei capolavori, la loro corretta conservazione e manutenzione, la aggiornata ed efficace presentazione didattica e scientifica. E' consolante accorgerci che questi sono gli obiettivi guida della attuale dirigenza F.E.C..
La storia ha costruito l' Italia dissestando distruggendo e poi riassemblando come per un immane rivolgimento tellurico, i suoi strati profondi. Lo strato identitario unificante degli antichi edifici di culto distribuiti su tutto il territorio nazionale dal Piemonte alla Sicilia, è oggi affidato, per una sua piccola ma prestigiosissima porzione, al Fondo Edifici di Culto.
Chi come me ha servito per tanti anni nella amministrazione italiana dei beni culturali e che ora dall' osservatorio privilegiato dei Musei Vaticani è in grado di apprezzare, con attenzione e sensibilità speciali, l' iridescente mirabile mantello di chiese che copre l' Italia, non può che esprimere vivo compiacimento per tale iniziativa editoriale introdotta dalle mie righe.
Una rete di perfetta affidabilità affidata agli architetti e agli storici dell' arte delle Soprintendenze garantisce la qualità dei testi. L' ERMA di BRETSCHNEIDER ci assicura del livello del risultato editoriale, improntato ad eleganza e a rigore come da sua mai disattesa tradizione.

Antonio Paolucci
Direttore dei Musei Vaticani
dalla Presentazione del I volume

Osmanlı Devleti’nin askeri ve idari düzlemde başlayan modernleşme serüveni, toplumsal yaşamda yeni anlayışlar şekillendirdiği gibi yeni alışkanlıkların ve beğenilerin gelişmesine de yol açmıştır. Batı modeline göre yapılandırılmış eğitim kurumlarının birbiri ardına açıldığı bu süreçte, özellikle Tanzimat Fermanı’nın ilanıyla beraber, eğitimi topluma yayma fikri öne çıkmıştır. Batı sanatı ise yapılan ıslahatların getirdiği kültürel açılımla yayılım göstermiş, önce Saray’da ardından da İstanbul’un sosyal yaşamında görünürlük kazanmıştır. Sempozyumda sunulacak olan bildiri, 18. yüzyıl sonunda eğitim programlarına girmeye başlayan resim derslerini ve II. Abdülhamid devrinde (1876-1909) resim eğitiminin kurumsallaşması adına büyük bir atılım olan Sanayi-i Nefise Mektebi’ni konu almaktadır. III. Selim’in (1761-1808) başlattığı Batılılaşma programının kapsamını genişleten II. Mahmud’dan (1785-1839) sonra, bilhassa Tanzimat Fermanı’nın ilanıyla beraber Avrupalıların ülkedeki tesiri artmıştır. Kültür ve fikir ortamı da bu izlekte bir dönüşüm geçirmektedir. Mühendishâne-i Bahrî-i Hümâyun, Mühendishâne-i Berrî-i Hümâyun, Mekteb-i Harbiye, Mekteb-i Tıbbiyye, Dârüşşafaka Mektebi, Mekteb-i Sultani ve Mekteb-i Osmani’nin eğitim programlarına resim derslerini dahil etmeleri, bu okullardan yetişen kişilerin resim sanatıyla bağlantı kurmalarını sağlamıştır. Keza bahsi geçen okullardan yetişen bir kesim, “Asker Ressamlar” olarak Türk Resim Tarihi’ne geçeceklerdir. Abdülaziz döneminde (1861-1876) Pierre-Désiré Guillemet’nin (1827-1878) öncü olduğu sanat odaklı eğitim veren bir akademi kurma girişimi, II. Abdülhamid döneminde hayata geçirilebilmiş ve 1883 yılında Sanayi-i Nefise Mektebi açılmıştır. Osmanlı toplumundan yerli ressamların yetişmesinde büyük bir adım olan bu hadiseden sonra resim sergilerinin sayısı çoğalmış ve yerli ressamların görünürlüğü artmıştır. Neticede resim derslerinin müfredata girmesi ve sanat eğitiminin Sanayi-i Nefise Mektebi aracılığıyla kurumsallaştırılması, sanatla uygulayıcı olarak ilgilenen bir kesimin yetişmesine sebep olduğu gibi toplum nezdinde de resim sanatının tanınırlığını arttırmıştır.
Yukarıda değinilen hususlar, bildiride detaylandırılarak incelenecek; Osmanlı Devleti’nin Batılılaşma sürecinde açılan eğitim kurumlarındaki resim derslerine ve söz konusu eğitimden geçerek resimle uygulayıcı olarak ilgilenme imkânı bulan önemli figürlere dair genel bir bakış geliştirilmeye çalışılacaktır.

Anahtar Kelimeler: Osmanlı Devleti, Resim Eğitimi, Sanayi-i Nefise Mektebi, Batılılaşma.

The modernization adventure of the Ottoman Empire, which started at the military and administrative level, shaped new approaches in social life and developed new habits and tastes in society. The idea of spreading the education to the people became prominent especially with the declaration of the Tanzimat Edict. Thus, the educational institutions were opened one after another and structured according to the Western model. Western art has spread with the cultural developments caused by the reforms and became visible first in the Palace and then in the social life of Istanbul. This paper, which will be presented at the symposium, focuses on the painting lessons that included in the curriculums by the end of the 18th century and Sanayi-i Nefise Mektebi which was a great breakthrough in the institutionalization of painting education during the reign of Abdulhamid II (1876-1909). The European influence in the Ottoman Empire increased especially with the declaration of Tanzimat Edict after Mahmud II (1785-1839), who expanded the scope of the Westernization program initiated by Selim III (1761-1808). The cultural and intellectual environment was also transforming in the same path. The students interacted with art when Mühendishâne-i Bahrî-i Hümâyun, Mühendishâne-i Berrî-i Hümâyun, Mekteb-i Harbiye, Mekteb-i Tıbbiyye, Dârüşşafaka Mektebi, Mekteb-i Sultani and Mekteb-i Osmani were included the art courses in their academic programs. Likewise, a group of people educated in these schools will be referred as “Soldier Painters” in the Turkish Painting History. During the reign of Abdulaziz (1861-1876) Pierre-Désiré Guillemet (1827-1878) attempted to establish an art academy. It was implemented during the Abdulhamid II’s reign when Sanayi-i Nefise Mektebi was opened in 1883. After this big step that raised the local painters from Ottoman society, number of the painting exhibitions have increased and local painters became more visible. Eventually, the inclusion of painting courses into the curriculums and the institutionalization of art education through Sanayi-i Nefise Mektebi has increased the recognition of the painting and raised the local painters.
The issues mentioned above will be examined in detail in the paper; a general outlook on painting lessons in the schools opened during the Westernization process of the Ottoman Empire and the important figures that have had the opportunity to be interested in painting as a practitioner will be revealed.

Keywords: Osmanlı Empire, Art Education, Sanayi-i Nefise Mektebi, Westernization.

Inserito nel numero speciale del Notiziario pubblicato dagli Amici dei Musei e dei Monumenti di Bassano del Grappa per celebrare il dono al locale Museo Civico di due frammenti inediti di Jacopo Bassano raffiguranti la "Vergine" e un "Pastore", l'intervento fa  il punto sugli studi e sul mercato delle opere dei Bassano negli ultimi dieci anni.

Talk about everything interior designers need to know every day:

Project mangement tools
Sequencing spaces
Design software
Digital presentation
Sustainability guidelines
standard dimensions tabels
Codes and accessibility
Contrast and color rules
paint types
Wall coverings
Flooring Types and specs
Natural and artificial light
Invisible systems
Drawing Basics

Due frammenti inediti di Jacopo Bassano, raffiguranti la "Vergine" e un "Pastore", sono apparsi nel 2019 sul mercato antiquario di Bassano del Grappa e sono stati esposti nel mese di dicembre per due giorni nella locale sede di Banca Mediolanum. Da quel momento ha avuto inizio una raccolta fondi per l'acquisto delle opere, in vista di una donazione al Museo Civico cittadino, che nella seconda metà del 2020 è stata presa in carico dagli Amici dei Musei e dei Monumenti di Bassano del Grappa e che si è conclusa nell'autunno 2021. Per celebrare il dono, gli Amici dei Musei hanno pubblicato un numero speciale del loro Notiziario dedicato ai due quadri e ad argomenti bassaneschi, nel quale si è riproposta anche la scheda realizzata in occasione dell'esposizione.

Jale Erzen is known by the International Association for Aesthetics community

mostly as a researcher in aesthetics, art historian and an active member of the com-
munity. Very few know that she has another identity: painter. I know her for about 20

years and what differs me from most of you is the fact that I had been her student for

a long time. I know her both as a researcher and a teacher. I took her class “Aesthet-
ics and Art Criticism” three times, not because I was a lazy student, but because she

teaches a different topic each year. She was always the most hardworking person in the class. She was a lecturer, but she was also a student. You could always see the light in her eyes, that light of excitement when she learns something new from her students.
This always gave us joy, the joy of ...

This text describes the pattern that has been followed for drafting the conservation plan of the mural paintings in S. Maria Maddalena church. The conservation project of the building and its interiors is focused on a multidisciplinary approach. It has been drawn up with the collaboration of several professionals engaged together from the beginning of the conservation process. These different skills have gathered up relevant results which have been able to provide a set of information related to the comprehension of the building, meant as a complex system. The main goal is to integrate all this data with the support of each different discipline, querying each professional’s specific answers in order to outline a holistic view of the topic. Through this method it has been possible to set up the criteria for the conservation project, based on the issues of preventive and planned conservation.

Painting, like other areas of the visual arts, is a complex field that defies any single method or style. In the visual arts, we are taught and we learn that there is never a true answer to the problems that we face. Each of us must find our own way. Unlike other traditional subject matter there are no manuals or directives to aid the painter in devising a teaching curriculum. Few artists have written about how to teach art. Although some have written rich narratives about their teaching experiences, they offer little advice to artists who want to teach. We must rely upon our own knowledge and experience as we enter into the studio classroom. We must also learn how to translate that which we know into something that can others can learn. The aim of this arts-based research is to create a bridge between the practice of the artist and the practice of the teacher, constructing a dialectic relationship between the two. It is an exploration into artistic knowledge, artistic process and t...

The  aim  of  this  study  is  to  explore  how  bringing  art  to  life  using  Augmented  Reality  (AR)  technology  can affect  viewer  engagement  and  interest  compared  to  the  viewing  of  traditional  static  artwork.  To measure these  properties  this  study  uses  a  combination  of  surveys:  The  User  Engagement  Scale  (UES)  and  a  slightly modified  version  of  the  Museum  Experience  Scale  (MES).  The  results  from  both  questionnaires  were aggregated to obtain a more accurate measurement of engagement, as the UES questionnaire is specifically focused  on  interactive  systems  while  the  MES  is  focused  on  an  overall  view  of  an  exhibit.  Using  both questionnaires a more accurate measurement of “engagement” can be reached for the purposes of this study.

Résumé Les techniques des sens C&#39;est par une combinaison des cinq sens que les êtres humains perçoivent le monde, mais le mode de combinaison est loin d&#39;être constant. Les cinq sens reçoivent différentes accentuations et différentes significations dans différentes sociétés. Ces différences sont souvent manifestées par des décorations du corps (par exemple, des disques d&#39;oreilles, des disques labiaux, ou des ornements nasaux). Cette idée est étudiée en se référant aux Indiens Suya et Kayapo du Brésil central et aux Dogon du Mali. Les pratiques d&#39;éducation des enfants représentent un autre moyen par lequel une société exprime et renforce sa hiérarchie sensorielle particulière, ce qu&#39;illustre une étude des pratiques de socialisation des Wolof du Sénégal.

From the establishment of the Committee for the Encouragement of Music and the Arts (CEMA) in 1940, cultural regeneration was anticipated as a vital part of the reconstruction of Britain. The means of achieving this rejuvenation, however, remained conflicted once the Second World War was over. Although innovation was, as ever, an artistic priority, the pull of pre-war class and aesthetic certainties was also strong: to Norman Mackenzie, postwar Britain was in a ‘stalemate state, that curious interval in our social history, in which there was no way back to the world which had gutted out into war yet no clear way forward to a really new society’.1 Before the war began, Georg Lukács had attempted to move the debate around art’s social contract beyond the presiding battle-lines. Its terms, he claimed in a 1938 essay, ‘are not classics versus modernists; discussion must focus instead on the question: which are the progressive trends in the literature of today?’ He added: ‘It is the fate...

Two still-life paintings were scientifically examined in order to gain insights about Dutch painter Jan van Huysum&#39;s (1682-1749) purportedly secretive paintings techniques, comparing the actual works to information obtained in the few available historical technical sources. Surface investigations included macroscopic and microscopic examination, infrared reflectography and x-radiography, while material characterization of the ground, organic and inorganic pigments and binding media was carried out with a range of non-destructive and destructive analytical techniques. The belief that the two works were an original pair of pendant paintings was disproved due to substantial technical differences in the wood support, ground layers and use of yellow pigment. It was also found that Van Huysum&#39;s use of newly developed pigments (Prussian blue, Naples yellow) had lead to changes in his painting technique, which no longer corresponded to those described in the period&#39;s manuals, an...

Architecture as a media, covers the plurality of languages. Being architectural is not only ‘relating to the art or practice of designing and constructing buildings’ but also relating to constructing the textu(r)al, graphic, photo-graphic and urban space; from the canvas to the city, as an architectural object. The analysis and discussion on how the evolutions affected the perception, position and historical understanding of ‘architectural’ object, will be based on the resolution above. The relationship between media and architectural object that I defined as various ‘spaces’ are almost overlapped as thinking is ‘architectural’. Due to cultural and temporal changes, ‘space’ of text, texture, graphic and photograph has been defined, transformed, fragmented, pluralized, destructed, reproduced. Throughout the essay, spatial transformation of each language/media will be discussed through  some examples in historical evolution of media and position of artist and architect, in an accumulative approach.