scholarly journals Georgia O’Keeffe, Black Cross with Stars and Blue

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Jeffrey Richmond-Moll
Keyword(s):  
Georgia O'keeffe ◽  
Black Cross

Kontrast und Wissen

2009 ◽  
Vol 54 (1) ◽  
pp. 69-102
Author(s):  
Robin Rehm
Keyword(s):  
19Th Century ◽  
Edmund Husserl ◽  
Specific Knowledge ◽  
Max Scheler ◽  
Black And White ◽  
Black Circle ◽  
Black Cross ◽  
Definition Of ◽  
And Function ◽  
The 19Th Century

Kasimir Malewitschs suprematistische Hauptwerke ›Schwarzes Quadrat‹, ›Schwarzer Kreis‹ und ›Schwarzes Kreuz‹ von 1915 setzen sich aus schwarzen Formen auf weißem Grund zusammen. Der Typus des Schwarzweißbildes weist überraschende Parallelen zu den bildlichen Wahrnehmungsinstrumenten auf, die vom ausgehenden 18. bis Anfang des 20. Jahrhunderts in den Experimenten der Farbenlehre, physiologischen Optik und Psychologie verwendet worden sind. Die vorliegende Studie untersucht diese Parallelen in drei Schritten: Zunächst erfolgt eine allgemeine Charakterisierung des Schwarzweißbildes mit Hilfe des Kontrastbegriffs von Edmund Husserl. Des weiteren wird die Entstehung und Funktion des schwarzweißen Kontrastbildes in den Wissenschaften des 19. Jahrhunderts typologisch herausgearbeitet. Unter Berücksichtigung des Wissensbegriffs von Max Scheler wird abschließend die Spezifik des Wissens eruiert, das die Schwarzweißbilder sowohl in der Malerei Malewitschs als auch in den genannten Wissenschaften generieren. Malevich’s main Suprematist works, such as ›Black Square‹, ›Black Circle‹, and ›Black Cross‹ from 1915, consist of black shapes on white ground. Surprisingly this series of shapes strongly resembles scientific black-and-white images used for research on colour theory, physiological optics, and psychology throughout the 19th century. This paper examines the parallels between Malevich’s paintings and the scientific drawings in three steps: It first characterizes black-and-white images in general, using Edmund Husserl’s definition of the term ›contrast‹. Secondly, the paper investigates the development and function of black-and-white images as tools of perception in the sciences. It finally discusses the specific knowledge generated through Malevich’s art and through scientific black-and-white images, following Max Scheler’s phenomenological identification of knowledge.

scholarly journals Memorial Crosses of Veliky Novgorod: The Cross of Venerable Savva Vishersky and the Wander or the Black Cross

2020 ◽  
pp. 110-143
Author(s):  
Валерий Викторович Игошев
Keyword(s):  
Frontal Surface ◽  
The Core ◽  
Significant Events ◽  
Multi Temporal ◽  
Black Cross ◽  
The Cross

В статье исследуются деревянные поклонные кресты работы новгородских мастеров, которые устанавливались для поклонения и в память каких-либо значимых событий. На основании изучения истории бытования, типологии, стилистических и технико-технологических особенностей сохранившегося в Новгородском музее креста Саввы Вишерского и утраченного Чудного (Чёрного) креста выявлены разновременные части этих памятников и сделана их атрибуция. В результате исследования деревянного креста Саввы Вишерского установлено, что памятник является сложным и разновременным, в основе которого сохранилась древняя массивная часть креста, сделанная в 1417 г. при основании монастыря самим преподобным Саввой Вишерским. А рельефные изображения и надписи вырезаны в конце XV - начале XVI в. после кончины преподобного. Вероятно, разновременным памятником был также и Чудный (Чёрный) крест. Его более тонкая лицевая поверхность, вероятно, изготовлена во время «поновления» или «реставрации» в 1547 г. Она была надставлена из липовых досок, и затем на этой плоскости вырезаны рельефные изображения Распятия, предстоящих и надписи. Скорее всего, при таком «поновлении» форма и пропорции древнего особо почитаемого восьмиконечного креста не были изменены. The article explores two wooden memorial crosses, the work of Novgorod masters, which were erected for worshiping and in memory of a certain significant events. Based on the history study, typology, stylistics and technological features of the Savva Vishersky cross, which is currently preserved in the Novgorod Museum, and now lost The Wonder (or The Black) Cross a different part of these objects were studied and attribution was made. As a result of the study of the Savva Vishersky wooden cross it was established that the object is complex and multi-temporal. There is an ancient massive part in the core of the cross, which was originally made by venerable Savva Vishersky himself in 1417 at the time of the monastery foundation. Relief images and inscriptions were carved in the late 15th or early 16th centuries already after the death of the reverend. Quite possible that the Wonder (or Black) Cross was also a multi-temporal as a finer frontal surface was probably made during a renovation in 1547. The frontal surface was created with Linden wood boards and then Crucifixion images, Saints and the inscriptions were carved out. Most likely this renovation did not influence the form and proportions of the ancient and highly revered eight-pointed cross.

The Development and Evaluation of Pictographic Symbols

1981 ◽  
Vol 25 (1) ◽  
pp. 198-202 ◽  
Author(s):  
Gary Sloan ◽  
Paul Eshelman
Keyword(s):  
Reaction Time ◽  
Error Rate ◽  
Relative Effectiveness ◽  
Symbol Recognition ◽  
Black Cross ◽  
Negation Sign

The premise adopted in this study is that representatives of the audience for whom a symbol is intended should be participants in its evolution as well as subjects in its evaluation. Several situations in need of product misuse warnings were supplied by a manufacturer of ovenware products. Symbol design possibilities were first generated for each message category and then design input was obtained from a sample of potential product users. New design candidates were developed on the basis of subject recommendations. Study generated symbols proved to be significantly more effective than designs used by the manufacturer for the same message categories as assessed by differences in reaction time and error rate. The relative effectiveness of different negation sign designs was also evaluated. Differences in both reaction time and subjective ranks of communicativeness suggest that a thin black cross is more effective in conveying negation than a thin black slash, a partial slash or cross, and a contour slash or cross. Significant differences were not found in the extent that the designs interfere with symbol recognition.

Precisionism

2018 ◽  
Author(s):  
Colin Root
Keyword(s):  
United States ◽  
Great Depression ◽  
The United States ◽  
The Great Depression ◽  
Charles Sheeler ◽  
Georgia O'keeffe ◽  
Ambivalent Attitude ◽  
Industrial Landscapes

Precisionism was a modernist art movement during the 1920s and 1930s in the United States, in which painters produced a ‘‘machine aesthetic’’ by rendering precise, geometrical forms in their works. A group of American painters originally called ‘‘The Immaculates,’’ the Precisionists celebrated new industrial landscapes of skyscrapers, factories, bridges, and other mechanized phenomena. Although they were never a formalized school and worked without a manifesto, Precisionism reflected both the exciting dynamism of the ‘‘Roaring Twenties’’ as well as the streamlined simplicity of the Great Depression. Their images produced an ambivalent attitude toward mechanization, at once praising its efficiency while condemning its dehumanization. Appearing immediately after a host of other influential modernist movements such as Cubism and Futurism, Precisionists merged the impulse toward abstraction with a photographically realistic eye. While no artist worked exclusively as a Precisionist, there were several for whom it was a formative style. Perhaps the most prolific artists who produced Precisionist works were Charles Sheeler, Charles Demuth, and Georgia O’Keeffe. Together, these three painters and several others created a distinctly American brand of imagery that was a celebration of nationhood as much as a celebration of mechanization.

Sign in / Sign up

Export Citation Format

Share Document