- Industry: Art history
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This term came into use in the late 1960s to describe a wide range of types of art that no longer took the form of a conventional art object. In 1973 a pioneering record of the early years of the movement appeared in the form of a book, Six Years, by the American critic Lucy Lippard. The 'six years' were 1966-72. The long subtitle of the book referred to 'so-called conceptual or information or idea art'. Conceptual artists do not set out to make a painting or a sculpture and then fit their ideas to that existing form. Instead they think beyond the limits of those traditional media, and then work out their concept or idea in whatever materials and whatever form is appropriate. They were thus giving the concept priority over the traditional media. Hence Conceptual art. From this it follows that conceptual art can be almost anything, but from the late 1960s certain prominent trends appeared such as Performance (or Action) art, Land art, and the Italian movement Arte Povera (poor art). Poor here meant using low-value materials such as twigs, cloth, fat, and all kinds of found objects and scrap. Some Conceptual art consisted simply of written statements or instructions. Many artists began to use photography, film and video. Conceptual art was initially a movement of the 1960s and 1970s but has been hugely influential since. Artists include Art & Language, Beuys, Broodthaers, Burgin, Craig-Martin, Gilbert and George, Klein, Kosuth, Latham, Long, Manzoni, Smithson.
Industry:Art history
In a general sense any piece of music or writing, or any painting or sculpture, can be referred to as a composition. More specifically, the term refers to the way in which an artist has arranged the elements of the work so as to bring them into a relationship satisfactory to the artist and, it is hoped, the viewer. In art in the classical tradition, triangular or pyramidal compositions were used because they created a sense of balance and harmony by arranging the figures into a stable overall geometric structure. This can be seen for example in the roughly conical grouping of the animals in George Stubbs's Mares and Foals. The idea of composition as the adjustment of the relationships of the elements of the work within the border of the canvas, remained unchallenged through the upheavals of the early modern movements such as Cubism and abstract art. Then in the late 1940s the American Abstract Expressionist painter, Jackson Pollock, introduced what came to be called allover composition, and the traditional concept became known as relational composition. However, Pollock still generally seems to be composing within the canvas. But at the same time, the Abstract Expressionist Barnett Newman began making paintings in which large blocks of colour ran from top to bottom of the canvas. These were relational to the extent that the proportions of the colours were adjusted against each other, but they were compositionally radical in that the blocks of colour simply ran off the top and bottom edges of the canvas, which Newman deliberately left unframed. It was Frank Stella in the late 1950s who achieved a composition that was both allover and broke out of the confines of the canvas.
Industry:Art history
Complementary colours are colours which complete each other - hence the name. The effect of this completing is to enhance the colours—they look stronger when placed together. This is because they contrast with each other more than with any other colours, and we can only see colour by contrast with other colours. The more contrast the more colour. If you stay in a room entirely painted one colour, after about ten minutes it will fade to grey. The complementary colours are the three primary colours, red, blue and yellow, and their secondaries. Secondary colours are the colours obtained by mixing the primaries in all their combinations of pairs. So the three secondary colours are green, orange and violet. The complementary pairs are red-green, blue-orange and yellow-violet. Artists began to become particularly aware of the significance of complementary colours after the development of scientific colour theory in the nineteenth century. This theory played an important part in the development of Impressionism and Post-Impressionism as well as Fauvism and much modern painting thereafter. The Impressionists were the first to note that shadows are not neutral but are the complementary colour of the light that throws them. So yellow sunlight throws a violet shadow. This can be seen very well in Monet's Woman Seated on a Bench in the crease of her arm and the pool of shadow at her feet.
Industry:Art history
In the 1960s a group of Pop artists began to imitate the commercial printing techniques and subject matter of comic strips. The American painter Roy Lichtenstein became notorious for creating paintings inspired by Marvel comic strips and incorporating and enlarging the Ben Day dots used in newspaper printing - surrounding these with black outlines similar to those used to conceal imperfections in cheap newsprint. At the same time Andy Warhol was also using images from popular culture, including comic strips and advertising, which he repeatedly reproduced, row after row, on a single canvas until the image became blurred and faded. The German painter Sigmar Polke also manipulated the Ben Day dot, although, unlike the slick graphic designs of Lichtenstein, Polke's dots were splodges that looked like rogue accidents in the printing room. In a similar vein, Raymond Pettibon undermined the innocent spirit of the comic strip with his ink-splattered drawings and sardonic commentary.
Industry:Art history
Французский термин смысл школа изящных искусств. Оригинал Ecole des Beaux Arts возникли из функции обучения французской академии Royale де твердых et de скульптура, основана в 1648 году в Париже (см. Академия). В 1816 Académie Royale школа переехала в отдельное здание и в 1863 году был переименован в Ecole des Beaux Arts. Основой преподавания было искусство древней Греции и Рима, то есть, классического искусства. Но анатомии, геометрии, перспективы и исследования от ню также были частью учебной программы. В 1663 году Академия основал Римскую, чрезвычайно престижной премии, что дал победители продолжительного визита в Рим, чтобы изучать классическое искусство на месте. В 1666 году Академия также основал ветвь в Риме для обеспечения преподавания и базу для этих студентов. Впоследствии большинство крупных французских городах созданы свои собственные Ecole des Beaux Arts. Prix de Rome было отменено в 1968 году в результате восстания студент того же года. К концу XIX века Ecole des Beaux Arts стал глубоко консервативной и независимой, соперничающих школ вскочил в Париже, например Жюлиана и Академии Коларосси. Школа оставалась базовой модели для художественной школы до фонд Баухауза в 1919 году. (См. также Блэк Маунтин Колледж). Большинство прославленных имен во французском искусстве прошли через Ecole вплоть до и включая некоторые из молодых импрессионистов.
Industry:Art history
Белый или не совсем белый неорганический материал, состоящий из карбоната кальция. Естественным, хотя также производится промышленно в двадцатом столетии.
Industry:Art history
Один из самых основных материалы для рисования, известен с глубокой древности. Обычно он делается из тонких очищенные ивы веточки, которые нагревают без присутствия кислорода. Это производит черный рассыпчатым палочки, которые оставляют микроскопические частицы с острыми краями в бумажные или текстильные волокна, производство линии плотнее в точке давления, но более диффузный на краях. Общий результат является менее точным, чем жесткий чернографитные карандаши, подходит для свободного исследования. Древесный уголь подтеки легко и часто защищен с распыленной фиксатором. Он используется, чтобы сделать эскизы и законченные произведения и как заместитель рисунок для картины. В XX веке обработанной версии был разработан, называли сжатого угля.
Industry:Art history
Термины классической или классической вошло в употребление в семнадцатом веке для описания в искусстве и культуре древних цивилизаций Греции и Рима. Классицизм в искусстве — сделать ссылку в более поздней работе древних классических стилей. Например классицизма Рейнольдс. Классическая мифология состоит из различных мифов и легенд древних греческих и римских богов и героев. От Ренессанса на этом стал основным источником предмета для истории живописи. Также от Ренессанса, классицизма было тотальным в западном искусстве и прошел через множество трансформаций.
Industry:Art history
Итальянский термин, используемый в этой форме на английском языке. Он переводится как свето тени и ссылается на баланс и структура света и тени в картину или рисунок. Светотени как правило только заметил на когда это особенно характерной особенностью работы, обычно, когда художник использует экстремальных контрастов света и тени.
Industry:Art history
Nel 1906 un gruppo di scrittori francesi, artisti e compositori hanno stabilito l'Abbaye de Créteil presso una villa a Creteil sud-est di Parigi. Il movimento incluso i pittori Albert Gleizes, Charles Berthold-Mahn e Jacques d'Otemar, i poeti Charles Vildrac, Georges Duhamel, René Arcos, Alexandre Mercereau, Jules Romains e Henri-Martin Barzun, il compositore Albert Doyen e la stampante Lucien Linard. Il gruppo è stato in parte ispirato dallo scrittore francese rinascimentale François Rabelais, che avevano scritto riguardo un comune autoportante in un monastero chiamato l'Abbaye de Thelema che aveva difeso il lavoro di gruppo e auto-miglioramento intellettuale. La Comunità di Abbaye de Creteil durò solo fino al febbraio del 1908, ma nella sua breve esistenza ha sostenuto il lavoro di Roger Allard, poi a diventare un fautore del cubismo e opere del poeta francese Pierre Jean Jouve leader.
Industry:Art history
