- Industry: Art history
- Number of terms: 11718
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Рисование - это обычно изображение образов на плоской поверхности при помощи линий, хотя оно может включать также тонирование отдельных участков, размывание четких контуров и границ и другие нелинейные изображения. Чернила, карандаш, фломастеры, мелки и уголь чаще всего используются при рисовании; также возможна их комбинация с красками.
Industry:Art history
In pittura e scultura le forme o le immagini biomorfiche sono quelle che, pur essendo astratte, si riferiscono, o evocano, forme viventi come le piante e il corpo umano.Il termine deriva dalla combinazione della parola greca bios, che significa vita, e morphe, che significa forma. Sembra che la parola biomorfico sia entrata in uso intorno agli anni '30 per descrivere il linguaggio figurativo nei quadri e nelle sculture appartenenti ad un tipo di Surrealismo più astratto, in particolar modo nell'opera di Joan Miró e Jean Arp (vedi automatismo).Anche Henry Moore e Barbara Hepworth durante quel periodo produssero alcuni splendidi biomorfi e così, più tardi, fece Louise Bourgeois.
Industry:Art history
La Beaux Arts Gallery di Londra fu diretta dalla pittrice Helen Lessore dal 1951 al 1965.( Non c'è alcun legame con l'attuale galleria londinese omonima). La fece diventare il luogo d'incontro e di esposizione principale per la pittura realista contemporanea.Nel periodo che va dal 1952 al 1954 organizzò personali di quattro giovani artisti John Bratby, Derrick Greaves, Edward Middleditch and Jack Smith, che si erano conosciuti al Royal College of Art. Divennero famosi col nome di Beaux Arts Quartet (il Quartetto della galleria Beaux Arts)e a partire dal dicembre del 1954 furono ribattezzati i Kitchen Sink painters, termine che si riferisce all'uso frequente di soggetti domestici crudamente realistici. Nel 1956 il Beaux Arts Quartet fu scelto per rappresentare la Gran Bretagna alla Biennale di Venezia insieme a von Hitchens e Lynn Chadwick. Altri artisti assocciati alla Beaux Arts Gallery furono David Bomberg, Raymond Mason, John Lessore, Francis Bacon, Lucian Freud, Michael Andrews, Frank Auerbach, Leon Kossoff, Euan Uglow, Myles Murphy e Craigie Aitchison.
Industry:Art history
Si riferisce principalmente alla Performance Art e all' Action Art e al loro precursore Happening, insieme agli sviluppi della Performance art a partire dagli anni'60.Nel 1999 la Live Art Development Agency, sovvenzionata con i fondi pubblici, fu fondata a Londra per promuovere e coordinare le attività in questo campo. Il termine Live art può anche riferirsi all'arte che utilizza animali vivi o piante.Una delle maggiori professioniste in questo campo è stata l'artista di Arte Povera Jannis Kounellis.
Industry:Art history
Può essere vista come una suddivisione dell'Astrattismo post- pittorico, che a sua volta nacque dalla pittura a Campi di Colore. Il termine fu coniato dal critico californiano Jules Langster nel 1959 per descrivere quei pittori astratti, in particolar modo della West Coast, che, come reazione alle più gestuali e pittoriche forme dell' Espressionismo Astratto, adottarono un'applicazione del colore particolarmente impersonale, delineando aree di colore con particolare nettezza e chiarezza.Questo tipo di approccio alla pittura astratta ebbe un'estrema diffusione negli anni'60.
Industry:Art history
The most common examples of electronic media are video recordings, audio recordings, slide presentations, CD-ROM and online content. The term also incorporates the equipment used to create these recordings or presentations; television, radio, telephone, computer. Much of the theory surrounding the use of electronic media by artists is based on Walter Benjamin's seminal essay of 1936, The Work of Art in the Age of Mechanical Reproduction, which discussed the democratisation of art, freed from its confines as a unique entity thanks to the development of photographic reproduction and forms such as cinema, where there is no unique original.
Industry:Art history
A series of identical impressions from the same printing surface. Since the late nineteenth century the number of prints produced has usually been restricted and declared as a 'limited edition'; before this prints were often produced in as many numbers as the process would allow. Modern artists' prints are usually limited to a specified number, anything between 2 and 1,000 or more. Sometimes the quantity is dictated by the process—the plate wears out—but more commonly it is restricted by the artist or publisher, in which case the printing surface is usually destroyed. Editioned prints are usually signed, numbered, and often dated by the artist. An edition of twenty-five will be numbered 1/25, 2/25, etc. These are usually accompanied by a number of proof prints, identical to the edition; those produced for artist are marked 'AP' (artist's proof), those for the printer or publisher 'PP' (printer's proof). A number of working proofs may also be made. 'Bon à tirer' (good to print) proofs provide a standard to guide the printer.
Industry:Art history
French term meaning school of fine arts. The original Ecole des Beaux Arts emerged from the teaching function of the French Académie Royale de Peinture et de Sculpture, established in Paris in 1648 (see Academy). In 1816 the Académie Royale school moved to a separate building and in 1863 was renamed the Ecole des Beaux Arts. The basis of the teaching was the art of ancient Greece and Rome, that is, classical art. But anatomy, geometry, perspective and study from the nude were also part of the curriculum. In 1663 the Académie founded the Prix de Rome, a hugely prestigious prize that gave winners a prolonged visit to Rome to study classical art on the spot. In 1666 the Académie also founded a branch in Rome to provide teaching and a base for these students. Subsequently most major French cities established their own Ecole des Beaux Arts. The Prix de Rome was abolished in 1968 as a result of the student revolt of that year. By the end of the nineteenth century the Ecole des Beaux Arts had become deeply conservative and independent, rival schools sprang up in Paris, such as the Académie Julian and the Académie Colarossi. The Ecole remained the basic model for an art school until the foundation of the Bauhaus in 1919. (See also Black Mountain College. ) Most of the illustrious names in French art passed through the Ecole up to and including some of the young Impressionists.
Industry:Art history
A group of students at the Kunstakademie Dusseldorf in the mid 1970s who studied under the influential photographers Bernd and Hiller Becher, known for their rigorous devotion to the 1920s German tradition of Neue Sachlichkeit (New Objectivity). The Bechers' photographs were clear, black and white pictures of industrial archetypes (pitheads, water towers, coal bunkers). Andreas Gursky, Candida Höfer, Axel Hütte, Thomas Ruff and Thomas Struth modified the approach of their teachers by applying new technical possibilities and a personal and contemporary vision, while retaining the documentary method their tutors propounded.
Industry:Art history
An intaglio technique in which a metal plate is manually incised with a burin, an engraving tool like a very fine chisel with a lozenge-shaped tip. The burin makes incisions into the metal at various angles and with varying pressure which dictates the quantity of ink the line can hold—hence variations in width and darkness when printed. The technique of engraving metal dates from classical antiquity as a method of decorating objects. However it was not until about 1430 in Germany that engraved plates began to be used for making prints. Photoengraving is a process using acid to etch a photographically produced image onto a metal plate that can then be printed from.
Industry:Art history
