Visual art history and the psychology of perception: Perspectivism and its 20th century abandonment in the visual arts and in Gibson's ecological psychology

2021 ◽  
Author(s):  
Harry Heft
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
Ecological Psychology

Art, History, and Postwar Fiction

2018 ◽  
Author(s):  
Kevin Brazil
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
New Left ◽  
Doris Lessing ◽  
William Gaddis ◽  
Continuity And Change ◽  
Historical Developments ◽  
The Cold War ◽  
The Relationship

Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.

Modern Perspectives in Art History: An Anthology of 20th Century Writings on the Visual Arts

Art Journal ◽  
1972 ◽  
Vol 32 (1) ◽  
pp. 108
Author(s):  
John Moffitt ◽  
W. Eugene Kleinbauer
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Art History

Ernst Hans Josef Gombrich 1909–2001

2003 ◽  
Author(s):  
Michael Podro
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Art History ◽  
Academic World ◽  
Wide Audience ◽  
General Audience ◽  
Two Factors ◽  
The Status ◽  
Basic Concepts ◽  
The Uk

Ernst Gombrich was a prominent art historian in the UK and probably its best known humanist scholar during the last forty years of the 20th century. The status derived from two apparently unrelated features of his work: he wrote deliberately for a wide audience, most obviously in his highly successful Story of Art first published in 1950, while his standing in the academic world, both within and beyond the field of art history, was established by Art and Illusion published in 1960; here he reconstructed some of the basic concepts in which the development of the visual arts could be discussed, introducing into the literature of art history a greatly enriched understanding of perceptual psychology. The two factors — his address to a general audience and his conceptual innovations in Art and Illusion — were intimately related because his use of experiments from the perceptual psychologists, appealing to effects which his readers and lecture audiences could test on themselves, lessened the sense that art was an arcane activity isolated from our everyday world.

scholarly journals THE USE OF TRIZ (TIPS) METHODS FOR THE PERCEPTION OF THE MODERN VISUAL ART

2021 ◽  
pp. 29-40
Author(s):  
T. I. Lagaeva ◽  
A. I. Simak
Keyword(s):  
Problem Solving ◽  
Visual Arts ◽  
Art History ◽  
Visual Information ◽  
Visual Art ◽  
Research Abstract ◽  
Practical Significance ◽  
Communication Effectiveness ◽  
Conscious Perception

The purpose of this investigation is the search and development of the methodological tools for the use of the Theory of Inventive Problem Solving (TRIZ/TIPS) for a deep and conscious perception of the modern visual arts by future artists and by professional painters in general. Methodology. The theoretical fundamentals of the research became the works of the researchers in the field of social-humanitarian sciences: culturology, art history, philosophy, semiotics. One can refer to the methodological basics the use of systemic, structural-semiotic and post-structural approaches. Results. In the process of the research, the differentiation, systematization and classification of methods of shaping in visual arts by adapting TRIZ methods was realized. The visual information for every TRIZ method was collected. As an example, we suggested a research abstract for the «Mediator» method, including a selection and the interpretation of the images, the analysis of method’s functions and their peculiarities, their specifics and resource possibilities. Scientific novelty. The scientific novelty consists in the fact that the authors have investigated the artistic works on the basis of adapted TRIZ methods, identified the variants of use of these methods and their functional meaning. Practical significance. The practical significance of the research consists in a deep analysis of semantic and esthetic components of the works of art, which can promote the enhancement of the artistic communication effectiveness and higher realization of the artists.

scholarly journals On the Artistic Value of Literary Ekphrasis

2021 ◽  
Vol 2 (2) ◽  
Author(s):  
Zhangfan Shangguan ◽  
Dong Wang
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
Narrative Style ◽  
Cross Media ◽  
Artistic Value ◽  
Cross Border ◽  
Language Style ◽  
Writing Paradigm ◽  
Literary Narrative

As a language attribute that exists for visual arts, ekphrasis is not only a bridge to communicate poetry and painting, but also an important category in the cross-media and cross-disciplinary research of literature and art. Through the process of recreating paintings by using language as a medium, ekphrasis realizes the conversion from visual art to auditory art, and explores the richness of cognitive creation on the basis of the reproduction of visual art. In this process, the literary narrative diagram shows significant differences from the artistic doctrinal diagram, which are mainly reflected in the three levels of academic guiding ideology, narrative style difference, classic deconstruction and reconstruction, and language style writing paradigm. In addition, literary storytelling plays an important role in the writing of art history and the dissemination of artworks. It provides reference and inspiration for the current cross-border and in-depth integration of literature and art from the perspective of practical creation.

Живопись и графика П. И. Емчегировой 1930–1950-х гг. (по материалам музейных и частных коллекций)

2020 ◽  
Vol 13 (5) ◽  
pp. 1378-1388
Author(s):  
Svetlana G. Batyreva ◽  
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Interdisciplinary Research ◽  
Art History ◽  
Fine Arts ◽  
National Museum ◽  
Applied Art ◽  
Unique Nature ◽  
Visual Artist ◽  
Artistic Images

Goals. The article aims at examining visual arts of pre-war Kalmykia and the deportation period (1943‒1957) through the example of P. I. Emchegirova (1907–1992) ― first ethnic Kalmyk female painter ― and her works. The artistic path remains understudied and is of special interest due to a unique nature of art pieces. Studies of the cultural heritage are complicated by the absence of documents and archival sources completely lost during the Siberian deportation. Materials and Methods. The work analyzes paintings, drawings and pieces of applied art created by P. I. Emchegirova virtually for over half a century and stored at the Palmov National Museum of Kalmykia, State Vladimir Suzdal Museum Reserve, and in family archives. The analysis of artistic images created by P. I. Emchegirova involves methods of art history, cultural studies, and ethnology. Results. The paper introduces data on previously unknown works of the visual artist that significantly extend the thematic range developed by Kalmyks painters in the 1930s–1950s, reveal ethnic specifics in P. I. Emchegirova’s activities, and deepen the understanding of local arts as an integral part to 20th-century Kalmykia’s history and culture. The study also attempts at historical and cultural reconstructions to somewhat restore lost fine arts, which may classify the former as an interdisciplinary research. There are also some data on the painter’s heritage from 1957 onwards.

The words about us

1983 ◽  
Vol 8 (4) ◽  
pp. 14-22 ◽  
Author(s):  
Gavin Jantjes
Keyword(s):  
South African ◽  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
African History ◽  
African Art ◽  
Black Artists ◽  
British Art ◽  
Cultural Life ◽  
Commonwealth Institute

This article challenges the history and interpretation of the visual arts of Africa promulgated by much of the documentation on African art found in British art libraries — both that based on the colonial archaeological, ethnographic and anthropological approach, and that stemming from the influence of African arts on early twentieth century European art. Drawing parallels between the false picture of African history produced by colonial historians, and the perception of African art history by non-African art historians, the author draws attention to the need for Africans to document their own art, and to the lack of documentation on the contribution of Black artists to British cultural life.The author is a South African artist and writer living in Britain, who will be exhibiting with the Midlands Art Group, Nottingham, January – February 1984. The article is a revised version of a paper delivered at the ARLIS/UK course ‘Visual art documentation for a multi-cultural society’, held on 11 November 1983 at the Commonwealth Institute, London.

The problem of the artefact: subject limits of the art library

1979 ◽  
Vol 4 (4) ◽  
pp. 11-22 ◽  
Author(s):  
Trevor Fawcett
Keyword(s):  
Material Culture ◽  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
Round Table ◽  
History Of Technology ◽  
Social Anthropology ◽  
Value Judgment ◽  
A Value ◽  
History Of

The traditional subject category ‘visual arts’ is based on a value judgment, but aesthetic criteria no longer suffice to define this category. Art is increasingly permissive in its range. The subjects of art history, archaeology, social anthropology, and history of technology tend more and more to overlap. Almost any material artefact can now be viewed aesthetically, and any work of visual art may be considered as an artefact. Libraries should aim to bring together all the material culture of human societies, whether tools or works of art, in their bibliographic classifications instead of scattering it as at present.(Slightly revised version of a paper given at the Art Libraries Round Table, 45th IFLA Congress, Copenhagen, 1979.)

Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation

2018 ◽  
Vol 12 (1) ◽  
pp. 29-44
Author(s):  
Srajana Kaikini
Keyword(s):  
Art History ◽  
Visual Art ◽  
Normative Theory ◽  
Close Reading ◽  
Literary Interpretation ◽  
Sanskrit Poetics ◽  
Comparative Framework ◽  
Time Image

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.

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