- Industry: Art history
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Процес приєднання два шматки металу, пом'якшення або плавлення обох поверхонь приєдналися аплікація тепла.
Industry:Art history
Метод естамп, відмінні від woodcut в тому, що лінія врізані в на woodblock, а не фону можуть бути зрізані далеко, щоб залишити лінію з надання допомоги. Так що це метод глибокого. Різьблення по дереву зазвичай робиться на кінець зерно блоку самшиту, яка дуже важко, і тому надзвичайно дрібні деталі можливий. Різьблення по дереву став широко використовується в дев'ятнадцятому столітті як метод відтворення зображень, газети і журнали, до винаходу фото механічні способи розмноження, але також іноді використовуються виконавців, таких як Едвард Калверт, як оригінальний носій естамп.
Industry:Art history
Метод друку полегшення від шматок дерева розрізати уздовж зерна. Блок вирізається, так що зображення виділяється з надання допомоги. Рельєфне зображення потім підписав і паперу розміщені проти її поверхні і тікати через пресу. Це можна зробити woodcut без преси (укійо е, Японське друкує наприклад) шляхом розміщення зв ' язок блок проти аркуш паперу і застосування тиску вручну. Занурити була використана в Європі з дванадцятого століття, в першу чергу для друку тканин, хоча зображення були друкуються на папері до кінця чотирнадцятого століття.
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
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
The rise of conceptual photography in the 1960s coincided with the early explorations into video art. Using cameras, artists like Richard Long and Dennis Oppenheim began recording their performances and temporary art works in a manner that is now often described as deadpan. The aim was to make simple, realistic images of the artwork that looked as documentary as possible. It was the pedestrian nature of photography, its unshakable capacity to photograph everything the same, that the artists liked, believing it was the art depicted in the photograph that was important. Precedents for conceptual photography can be found as far back as the early twentieth century when Alfred Stieglitz photographed Marcel Duchamp's readymade made from a urinal, Fountain, for an exhibition in New York. The original Fountain was lost, but the photographs by Stieglitz remain and have become works of art in themselves.
Industry:Art history
Term introduced by Van Doesburg in 1930 'Manifesto of Concrete Art' published in the first and only issue of magazine Art Concret. He called for a type of abstract art that would be entirely free of any basis in observed reality and that would have no symbolic implications. He stated that there was nothing more concrete or more real than a line, a colour, or a plane (a flat area of colour). The Swiss artist Max Bill later became the flag bearer for Concrete art organising the first international exhibition in Basle in 1944. He stated that the aim of Concrete art is to create 'in a visible and tangible form things which did not previously exist—to represent abstract thoughts in a sensuous and tangible form'. In practice Concrete art is very close to Constructivism and there is a museum of Constructive and Concrete art in Zurich, Switzerland.
Industry:Art history
An extension of Constructivism in Britain from about 1950 in the work of Victor Pasmore, Kenneth Martin, Mary Martin and Anthony Hill. Naturally occuring proportional systems and rhythms underpinned their geometrical art. They were inspired by the theories of the American artist Charles Biederman and explored the legacy of the 'Constructive art' made in the 1930s by Ben Nicholson, Barbara Hepworth and Naum Gabo, whose contribution to the Russian Constructivism was exemplary. Hill insisted on using the term Constructionism for the British phenomenon, but Constructivism is more commonly found.
Industry:Art history
Term originally used to describe the work from about 1950 of the Abstract Expressionist painters Mark Rothko, Barnett Newman and Clyfford Still, which was characterised by large areas of a more or less flat single colour. 'The Colour Field Painters' was the title of the chapter dealing with these artists in the American scholar Irvine Sandler's ground-breaking history, Abstract Expressionism, published in 1970. Around 1960 a more purely abstract form of Colour Field painting emerged in the work of Helen Frankenthaler, Morris Louis, Kenneth Noland and others. It differed from Abstract Expressionism in that these artists eliminated both the emotional, mythic or religious content of the earlier movement, and the highly personal and painterly or gestural application associated with it. In 1964 an exhibition of thirty-one artists associated with this development was organised by the critic Clement Greenberg at the Los Angeles County Museum of Art. He titled it Post-Painterly Abstraction, a term often also used to describe the work of the 1960 generation and their successors. In Britain there was a major development of Colour Field painting in the 1960s in the work of Robyn Denny, John Hoyland, Richard Smith and others.
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
