A History of Pictures for Children: From Cave Paintings to Computer Drawings by David Hockney

2018 ◽  
Vol 72 (3) ◽  
pp. 126-126
Author(s):  
Deborah Stevenson
Keyword(s):  
Cave Paintings ◽  
History Of ◽  
David Hockney

scholarly journals COLOR IN PAINTING (IN PERSPECTIVE FROM PREHISTORIC TIMES TO PRESENT TIMES)

2014 ◽  
Vol 2 (3SE) ◽  
pp. 1-2
Author(s):  
Gautam
Keyword(s):  
Human Life ◽  
Modern Humans ◽  
Important Place ◽  
Color Effect ◽  
Cave Paintings ◽  
History Of ◽  
Different Color

Varna (color) has an important place in human life. Each item has a different color. It is visible to us only because the objects are colored in the ground. Human attraction to colors has never decreased. That is why, from primitive cave paintings to modern humans, colors have been used in the development of beauty. The importance of colors is seen in every chapter of the history of human life. A picture can be made predominantly based on the color effect ie color effect. Color is an important part of our life; Without it, nature does not have any existence of any substance or organism present. It is only through colors that we recognize him. Color has its own existence, which has its own language and an artist understands that language very well. Only then does he use colors properly in chitrakala. मानव जीवन में वर्ण (रंग) का महत्वपूर्ण स्थान है। प्रत्येक वस्तु क¨ई न क¨ई रंग लिये हुये है। वस्तुअ¨ं के धरातल में रंग ह¨ने के कारण ही वह हमें दिखाई देती है। रंग¨ं के प्रति मानव का आकर्षण कभी घटा नहीं है। इसीलिये आदिम गुफाचित्र्ा¨ं से ल्¨कर आधुनिक मानव तक ने स©न्दर्य के विकास में रंग¨ं का सहारा लिया है। रंग¨ं का महत्व हमें मानव जीवन के इतिहास के हर अध्याय में देखने क¨ मिलता है। वर्ण प्रभाव अर्थात् रंग प्रभाव के आधार पर चित्र्ा क¨ स©न्दर्य प्रधान बनाया जा सकता है। रंग हमारे जीवन का महत्वपूर्ण हिस्सा है; इसके बिना प्रकृति उपस्थित किसी भी पदार्थ या जीव का अपना क¨ई वजूद नहीं है। रंग¨ं के द्वारा ही हमें उसकी पहचान ह¨ती है। रंग का अपना एक अस्तित्व है जिसकी अपनी ही एक भाषा है अ©र उस भाषा क¨ एक कलाकार बहुत अच्छे से समझता है। तभी वह रंग¨ं का प्रय¨ग उचित ढंग से चित्र्ाकला में करता है।

Study on the Use of Wood in the Architecture Design

2012 ◽  
Vol 598 ◽  
pp. 41-44
Author(s):  
Zhen Li ◽  
Fang Liu
Keyword(s):  
Building Materials ◽  
Architecture Design ◽  
The Future ◽  
Cave Paintings ◽  
History Of ◽  
Materials Used

Cave paintings from eight thousand years ago show that wood is one of the original building materials used by human. The earliest known wooden artefacts are about l4,000 years old. The history of wooden buildings is so long that its properties and effects on people and the environment are thoroughly known, which is a significant factor compared with today's synthetic building materials. For wood has many advantages, it will be sure to play an important role in the architecture design continuously in the future.

Dissecting Graphic Fiction: A Study of the Hybrid Form of the 21st Century

Think India ◽  
2019 ◽  
Vol 22 (3) ◽  
pp. 249-256
Author(s):  
Dr M. S. Xavier Pradheep Singh
Keyword(s):  
Graphic Novels ◽  
Comic Book ◽  
Good Deal ◽  
Graphic Novel ◽  
Hybrid Form ◽  
Art Form ◽  
Cave Paintings ◽  
History Of ◽  
Unique Approach ◽  
Meaningful Interaction

“Comic art does possess the potential for the most serious and sophisticated literary and artistic expression, and we can only hope that future artists will bring the art form to full fruition” (176), prophesied Lawrence Abbott in 1986. It became true when Graphic Fiction emerged as a hybrid genre and entered into the academia. It is a meaningful interaction of words, image panels, and typography. They have a long history dating back to cave paintings and Egyptian hieroglyphics. Though there are “more genetic similarities between the comic book and the graphic novel” (Sardesai 28), Graphic Novel has a unique approach to plot, narration, and theme. This new genre combines visual and verbal rhetoric and thus offers a hybrid form of reading. The use of blank spaces between image panels provides “imaginative interactivity” (Tabachnick 25), as the reader tends to fill in these blanks, imagining a good deal of action. Text boxes, speech bubbles, and thought bubbles streamline the narration and create a sense of interactivity in a reader. This paper records the history of Graphic Novel and makes an anatomy of it. It also enlists recent Graphic novels and major techniques employed in them.

scholarly journals Uma breve introdução a discussão sobre as pinturas rupestres brasileiras

2021 ◽  
Vol 1 (1) ◽  
pp. 28-45
Author(s):  
Michel Justamand ◽  
Vitor José Rampaneli De Almeida ◽  
Gabriel Frechiani De Oliveira ◽  
Leandro Paiva
Keyword(s):  
Human Presence ◽  
Cave Paintings ◽  
History Of

Este trabalho apresenta uma breve discussão sobre as pinturas rupestres (pinturas feitas nas rochas) produzidas no Brasil. Esta prática remete-se há milhares de anos antes do presente em solo nacional. Desta maneira sugerindo que a História da presença humana no território brasileiro teria muito mais de 500 anos, ao contrário da “crença oficial” de que o país teria sido “descoberto” em 1500 pelos aventureiros portugueses.   This work presents a brief discussion of cave paintings (paintings made on rocks) produced in Brazil. This practice dates back thousands of years before the present on national soil. In this way, suggesting that the history of human presence in Brazilian territory would be much more than 500 years old, contrary to the “official belief” that the country would have been “discovered” in 1500 by Portuguese adventurers.

scholarly journals Depth Perception and the History of Three-Dimensional Art: Who Produced the First Stereoscopic Images?

i-Perception ◽  
2017 ◽  
Vol 8 (1) ◽  
pp. 204166951668011 ◽  
Author(s):  
Kevin R. Brooks
Keyword(s):  
Three Dimensional ◽  
Dimensional Structure ◽  
Stereoscopic Images ◽  
Conventional View ◽  
Salvador Dali ◽  
Cave Paintings ◽  
History Of ◽  
Mona Lisa ◽  
Monocular Depth ◽  
Charles Wheatstone

The history of the expression of three-dimensional structure in art can be traced from the use of occlusion in Palaeolithic cave paintings, through the use of shadow in classical art, to the development of perspective during the Renaissance. However, the history of the use of stereoscopic techniques is controversial. Although the first undisputed stereoscopic images were presented by Wheatstone in 1838, it has been claimed that two sketches by Jacopo Chimenti da Empoli (c. 1600) can be to be fused to yield an impression of stereoscopic depth, while others suggest that Leonardo da Vinci’s Mona Lisa is the world’s first stereogram. Here, we report the first quantitative study of perceived depth in these works, in addition to more recent works by Salvador Dalí. To control for the contribution of monocular depth cues, ratings of the magnitude and coherence of depth were recorded for both stereoscopic and pseudoscopic presentations, with a genuine contribution of stereoscopic cues revealed by a difference between these scores. Although effects were clear for Wheatstone and Dalí’s images, no such effects could be found for works produced earlier. As such, we have no evidence to reject the conventional view that the first producer of stereoscopic imagery was Sir Charles Wheatstone.

Looking for an Artificial Eye: On the Borderline between Painting and Topography

2005 ◽  
Vol 10 (2) ◽  
pp. 263-286
Author(s):  
Filippo Camerota
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Optical Devices ◽  
Linear Perspective ◽  
Artificial Eye ◽  
Optical Tools ◽  
Documentary History ◽  
History Of ◽  
David Hockney ◽  
Almost All

AbstractThe use of instruments for drawing from life is documented since the fifteenth century in a variety of books, drawings and actual devices. Almost all of the instruments invented for this purpose belong to the linear perspective tradition, being conceived as mechanical expressions of a geometric principle, namely the intersection of the visual pyramid. On the basis of a close but controversial analysis of some important paintings of the early Renaissance, David Hockney and Charles Falco have concluded to a widespread use of optical devices in painters' workshops, such as concave mirrors, convex lenses and camera obscuras. Devices of this kind were generally used by optics scholars in their experiments with light and the multiplication of species. However, except for some isolated references to the camera obscura and flat mirrors,1 the documentary history of art is completely silent about the use of these optical tools by painters. Written evidence, in this sense, can be found only in the late sixteenth century but related to map-making more than to painting. Moreover, growing interest in such devices is only evident in connection with the invention of the telescope and its interpretation as an "artificial eye."2

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