Black Paintings Research Articles

Portable X-ray fluorescence of Lower Pecos painted pebbles: New insights regarding pigment choice and chronology

Painted pebbles are the primary mobiliary art found in the Lower Pecos Canyonlands of southwest Texas and northern Mexico. Previous studies of these artifacts have focused on stylistic variation of the imagery and interpretation of the role these artifacts played within Lower Pecos societies. The focus of this study is the use of portable X-ray fluorescence on Lower Pecos painted pebbles to conduct elemental analyses to identify the pigment used by ancient artists in the paint recipe for painted pebble production. Using a sample of recently excavated painted pebbles, as well as a sample from a private collection, a total of 254 pXRF measurements were collected on 70 pebbles. We determined that charcoal was used as a pigment for black paintings and that iron-based mineral pigments were used for red paintings. The newly excavated pebbles range in age from 6500 to 700 RCYBP, and the stratigraphic and chronologic context of these pebbles provides a dataset for analyzing not only pigment selection, but allows us to also address changes in painted pebble production through time. This paper summarizes the results from the pXRF analysis, and discusses the larger archaeological implications for Lower Pecos painted pebbles.

KEBIJAKAN PENGELOLAAN TRANSPORTASI PUBLIK DI PURWOKERTO

THE POLICY OF PUBLIC TRANSPORTATION MANAGEMENT IN PURWOKERTOABSTRAKPotensi kemacetan telah terlihat Purwokerto sebagai salah satu kota transit di Indonesia. Potensi ini terjadi akibat lonjakan jumlah kendaraan pribadi, sementara angkutan umum kian ditinggalkan karena kualitas layanannya yang kurang memadai dan tidak mampu menjawab tuntutan publik. Hal ini mengindikasikan gagalnya kebijakan tata kelola transportasi publik yang diselenggarakan pemerintah daerah. Untuk itu, sebuah alternatif kebijakan diperlukan guna mengatasi masalah transportasi publik. Pengembangan alternatif kebijakan dilakukan dengan teknik participatory policy analysis dalam paradigma analisis kebijakan deliberaitf. Teknik analisis kebijakan yang menekankan pada pengembangan alternatif kebijakan dengan melibatkan unsur masyarakat yang terkait dengan kebijakan dalam proses dialog untuk mengembangkan alternatif kebijakan. Proses dialog untuk pengembangan alternatif kebijakan tersebut dilakukan dengan memerhatikan aspek reciprocity, relationship, learning dan creativity di antara aktor kebijakan. Penelitian dilakukan dengan pendekatan penelitian kualitatif, dengan pemilihan informan menggunakan teknik pusposive sampling terhadap mereka yang dianggap berkompeten dan mewakili setiap unsur masyarakat yang terkait dengan kebijakan transportasi publik di Purwokerto. Penelitian berhasil bahwa pilihan kebijakan reformasi pengelolaan transportasi publik merupakan alternatif ideal untuk menjawab tuntutan publik akan transportasi publik yang berkualitas dan dapat diandalkan. Berdasarkan temuan penelitian, meskipun proses dialog kolaboratif mampu menghasilkan alternatif kebijakan, namun proses dialog itu sendiri tidak terjadi tanpa ada fasilitative leadership dan civil society. Komitmen elit pemerintah yang memfasilitasi (fasilitative leadership) dan adanya kesadaran serta wahana bagi masyarakat menyuarakan kepentingannya (civil society) menjadi aspek yang melengkapi model collaborative policy making.ABSTRACTThe potency of traffic density and congestion is already visible in Purwokerto as one of the city transit in Indonesia. It occurs due to the surge in the number of private vehicles, while public transportation is increasingly abandone, because the public transportation is no longer able to fulfill the public demand with its inadequate quality service. This indicates the failure of public transportation management policy organized by local government. Therefore, an alternative public transportation is needed to address the problem. The problem that arises in this research is what is the alternative policy that can be taken by local government? The development of policy alternative is carried out with Participatory Policy Analysis (PPA) technique. PPA was a deliberative policy analysis technique emphasize on the effort of alternative policy development by involving the public elements associated with public transportation policy were involved in the dialogue process to develop policy alternative. The dialogue process to develop the policy alternative was carried out by observing the aspect of reciprocity, relationship, learning, and creativity among the policy actors. This research was carried out using qualitative approach, with the selection of informant using purposive sampling technique. This research has found the public transportation reform policy are the most likely alternative to solve public interest about quality of public transportation. This research also has successfully developed the model of collaborative policy making based on the research finding, although the process of collaborative dialogue is able to produce the alternative policy; however this process of dialogue itself is not going to happen without the facilitative leadership and civil society. The commitment of government in facilitating (facilitative leadership), the awareness and a place for people to voice their interest can be the aspects that complete the model of collaborative policy making.

Neandertal cave art

Paleoanthropology It has been suggested that Neandertals, as well as modern humans, may have painted caves. Hoffmann et al. used uranium-thorium dating of carbonate crusts to show that cave paintings from three different sites in Spain must be older than 64,000 years. These paintings are the oldest dated cave paintings in the world. Importantly, they predate the arrival of modern humans in Europe by at least 20,000 years, which suggests that they must be of Neandertal origin. The cave art comprises mainly red and black paintings and includes representations of various animals, linear signs, geometric shapes, hand stencils, and handprints. Thus, Neandertals possessed a much richer symbolic behavior than previously assumed. Science , this issue p. [912][1] [1]: /lookup/volpage/359/912?iss=6378

U-Th dating of carbonate crusts reveals Neandertal origin of Iberian cave art

The extent and nature of symbolic behavior among Neandertals are obscure. Although evidence for Neandertal body ornamentation has been proposed, all cave painting has been attributed to modern humans. Here we present dating results for three sites in Spain that show that cave art emerged in Iberia substantially earlier than previously thought. Uranium-thorium (U-Th) dates on carbonate crusts overlying paintings provide minimum ages for a red linear motif in La Pasiega (Cantabria), a hand stencil in Maltravieso (Extremadura), and red-painted speleothems in Ardales (Andalucía). Collectively, these results show that cave art in Iberia is older than 64.8 thousand years (ka). This cave art is the earliest dated so far and predates, by at least 20 ka, the arrival of modern humans in Europe, which implies Neandertal authorship.

ジャクソン・ポロックにおける書道芸術 : ブラック・ペインティング成立に関する一考察(第六十四回美学会全国大会発表要旨)

ジャクソン・ポロックにおける書道芸術 : ブラック・ペインティング成立に関する一考察(第六十四回美学会全国大会発表要旨)

ジャクソン・ポロックにおける書芸術 : ブラック・ペインティング成立に関する一考察

ジャクソン・ポロックにおける書芸術 : ブラック・ペインティング成立に関する一考察

From Chauvet to Lascaux: 15,000 Years of Cave Art

The earliest art of Western Europe was evolving together with the Homo sapiens population of hunter-gatherers in the glacial environment of the northern hemisphere over the entire Upper Paleolithic (36–13 ka BP). The most important rock art sites, such as Altamira and La Garma in Spain, and Lascaux, Niaux, Cussac, and Chauvet in France, are relevant to the socio-cultural behavior and needs of anatomically modern humans. In this paper, we intend to identify certain changes in the symbolic language, in the ways animals are rendered, and in the layout of artistic space over 15,000 years separating the two key rock art galleries with the best preserved representations: Chauvet (36 ka BP) and Lascaux (21 ka BP). Chauvet, discovered in 1994, is located in the Ardeche Valley near the Mediterranean coast. In this large cave, numerous new kinds of Upper Paleolithic rock art were documented, spanning two distinct occupation periods between 37,000–30,000 years ago. The early stage is the Aurignacian with black zoomorphic paintings, dating to 37,000–33,500 BP. Lascaux, discovered in 1940, is situated in the Vezere Valley, 120 km away from the Atlantic coast, among a large cluster of rupestral art sites in caves and rock shelters. Today, the cave is closed for the public because intense tourist activities over many years from its discovery until 1963 have disrupted the microclimate of the cave and endangered the paintings.

The Death of Beauty: Goya's Etchings and Black Paintings through the Eyes of André Malraux

SUMMARYModern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of the time. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a significance of a much deeper kind. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the European artistic tradition that began with the Renaissance, an essentially humanist tradition founded on the pursuit of a transcendent world of nobility, harmony and beauty—an ideal world outside of which, as Malraux writes, ‘man did not fully merit the name man’. Following the illness that left him deaf for life—an encounter with ‘the irremediable’, to borrow Malraux's term—Goya developed an art of a fundamentally different kind—an art, Malraux writes, ruled by ‘the unity of the prison house’, which replaced transcendence with a pervasive ‘feeling of dependence’ and from which all trace of humanism has been erased. Foreshadowing modern art's abandonment of the Renaissance ideal, and created semi-clandestinely, the etchings and black paintings are an early announcement of the death of beauty in Western art.

MAKNA SENI LUKIS HITAM PUTIH KARYA I.G.N NURATA TAHUN 1990-2010

This article is the result of a study entitled “A Study of the Meaning of Black and White Paintings by I.G.N. Nurata from1990-2010.” The study takes as its object the black and white paintings of I.G.N. Nurata as a medium of expression, andaims to: 1) describe and analyze the background to the creation of I.G.N. Nurata’s black and white paintings; 2) describe andanalyze the form of I.G.N. Nurata’s black and white paintings; and 3) describe the response of the observer towards I.G.N.Nurata’s black and white paintings. In order to obtain the necessary results, the research method adopted a holistic approachwhich focussed on six of I.G.N. Nurata’s black and white paintings. The method used for collecting data included abibliographical study, participatory observation, documentation, and interviews. The data was analyzed mainly through aninterpretational analysis. Based on the results of the research, it could be concluded that: 1) I.G.N. Nurata’s black and whitepaintings between 1990 and 2000 are visualized strongly in imaginary forms, through traditional visual language andcultural codes, in order to articulate symbolism and metaphors; 2) I.G.N. Nurata’s black and white paintings between 2001and 2010 are still visualized in imaginary form, through traditional visual language and cultural codes, with the addition ofan increasingly intense use of elements of modern visual language such as the use of volume and perspective; and 3) On thewhole, there is a message of harmony between the macro, micro, and meta cosmos, in accordance with the doctrine “Tri HitaKarana” which teaches us how to live in harmony with God, with other people, and with nature, including the spiritualworld.Keywords: Symbols through imaginative form, Visual Metaphors, Black and White Paintings

Great Bosh

In Brideshead Revisited, Waugh tried to tie specific trends in modern art to the general decline of culture, against which Catholicism stood as a bulwark. This essay examines the conversion of Charles Ryder that interacts with his, and Waugh’s, reaction to modern art. Parallels are drawn with the conversion of Saint Augustine. The essay concludes that Waugh’s critique of modern art theory is superficial, and ignores the relationship between Christianity and modern art. This relationship is explored through the work of Joseph Masheck. The history of pictorial flatness is traced through religiously inspired art and is seen to be in continuity with modern art such as the black paintings of Ad Reinhardt. Saint Augustine’s theology of art as a means rather than as an end functions in Brideshead Revisited as a way to reconcile Waugh’s Catholic and artistic intentions.

고야(Francisco de Goya)의 ≪검은 회화들≫ 속의 노년의 고야

고야(Francisco de Goya)의 ≪검은 회화들≫ 속의 노년의 고야

First absolute dating of Andean hunter-gatherer rock art paintings from North Central Chile

We report the first absolute dating for rock paintings by Andean hunter-gatherer groups. Analysis by Raman spectrometry of remains of black paintings from the center-north of Chile (30° lat. S) allows for the identification of carbon as the raw material. Radiocarbon dating situates these paintings between 1623–1431 BCE and 80–240 ACE, dates that are supported by other lines of independent evidence. These results are consistent with proposals that suggest the appearance and popularization of rock art in various places in the Andes for the temporal transect of 3000–1000 BCE. Finally, these new datings are added to the scant corpus of absolute dates for rock art that exist in South America.

Ad Reinhardt: Mystic or Materialist, Priest or Proletarian?

Ad Reinhardt remains an active problem, as recent developments in his scholarship shed new light on earlier perplexities in his reception. Specifically the leftist materialist reading of Reinhardt's “difficult” black square paintings (1960–67) as engaged in modernist negation needs to be pressed further. The series should be taken as an object lesson in Marxist dialectics where the play and reversal of the categories of alienated versus free activity in labor and work, identity versus nonidentity in the social object as exchange-value or use-value, and art versus life within bourgeois aesthetics ultimately aim at a critical, materialist demystification of art.

Barnett Newman, The Stations of the Cross: Lema Sabachtani

According to the art critic Harold Rosenberg there is nothing religious about Barnett Newman’s series of fourteen roughly human-sized, black and white paintings, The Stations of the Cross: Lema Sabachtani. Rosenberg, countering Thomas Hess’s kabalistic reading of Newman’s work, argued that Newman’s The Stations should be understood in the context of Newman’s idiosyncratic, secular world view. This in some respect is correct—Newman was not religious in any traditional sense and railed against dogma of any kind—but Rosenberg surprisingly failed to understand fully that Newman’s recourse to a powerful religious symbol allowed him to point to the political import of his subject when other aesthetic and political vocabularies failed him.

ERP Modulation during Observation of Abstract Paintings by Franz Kline

The aim of this study was to test the involvement of sensorimotor cortical circuits during the beholding of the static consequences of hand gestures devoid of any meaning.In order to verify this hypothesis we performed an EEG experiment presenting to participants images of abstract works of art with marked traces of brushstrokes. The EEG data were analyzed by using Event Related Potentials (ERPs). We aimed to demonstrate a direct involvement of sensorimotor cortical circuits during the beholding of these selected works of abstract art. The stimuli consisted of three different abstract black and white paintings by Franz Kline. Results verified our experimental hypothesis showing the activation of premotor and motor cortical areas during stimuli observation. In addition, abstract works of art observation elicited the activation of reward-related orbitofrontal areas, and cognitive categorization-related prefrontal areas. The cortical sensorimotor activation is a fundamental neurophysiological demonstration of the direct involvement of the cortical motor system in perception of static meaningless images belonging to abstract art. These results support the role of embodied simulation of artist’s gestures in the perception of works of art.

마크 로드코의 색면추상에 표현된 색의 확장성 연구

This study is aimed at understanding the color extendibility of color-field abstract through Mark Rothko's paintings. Color extendibility is a structure applied by Mark Rothko. He simplifies it and by pursuing autonomy and immediacy of the color itself, including surface color and the front of color-field, Rothko creates value through motions in his square paintings of non-fixed shapes. Chapter 2 revisits the meaning of color in abstract expressionism and explains the principle of color-field by applying the concept of ergon and parergon. In chapter 3, the principle, processes, methods, techniques of expression were studied as a basis to understand color extendibility and color-field abstract. In chapter 4, the works of Mark Rothko were analyzed based on his multiform paintings(1946-1948), number and untitled(1949-1957), and black paintings(1958-1970) in order to identify, in the final chapter, the features of color extendibility in Rothko's works. According to the above research, the thesis successfully concludes that the artist's reconstruction of reality and readjustment of transcendent reality are reproduced via color extendibility, the movement of color-field.

In situ energy dispersive X‐ray fluorescence analysis of rock art pigments from the ‘Abrigo dos Gaivões’ and ‘Igreja dos Mouros’ caves (Portugal)

A portable energy dispersive X‐ray fluorescence spectrometer was used to obtain the elemental composition of Neolithic rock art paintings of the ‘Abrigo dos Gaivões’ and ‘Igreja dos Mouros’ caves. These caves, located in the Esperança parish, Arronches' county, in the San Mamede's mountains (Portugal), belong to a group of spread shelters just next to the western Spanish border. Results show the strong presence of iron in bare rock, and this element can be clearly detected as the main component of the red paintings. No evidence of manganese was detected in either the brownish or the black paintings, contrary to other Neolithic paintings in the Mediterranean area. Copyright © 2011 John Wiley & Sons, Ltd.

A King’s Decapitation

This paper presents research on Francisco de Goya. This research proves that the painting of Francisco de Goya (1746-1828) from 1800 ('The Cannibals), and his paintings from 1820-1823 (The Black Paintings, 'Judith,' and 'Saturn,' and Miniature, 'Judith') represent changing ideas on decapitation of a monarch.

Recess battles: playing, fighting, and storytelling

As children wrestle with culture through their games, recess itself has become a battleground for the control of children's time. Based on dozens of interviews and the observation of over a thousand children in a racially integrated, working-class public school, Recess Battles is a moving reflection of urban childhood at the turn of the millennium. The book debunks myths about recess violence and challenges the notion that schoolyard play is a waste of time. The author videotaped and recorded children of the Mill School in Philadelphia from 1991 to 2004 and asked them to offer comments as they watched themselves at play. These sessions in Recess Battles raise questions about adult power and the changing frames of class, race, ethnicity, and gender. The grown-ups' clear misunderstanding of the complexity of children's play is contrasted with the richness of the children's folk traditions. Recess Battles is an ethnographic study of lighthearted games, a celebratory presentation of children's folklore and its conflicts, and a philosophical text concerning the ironies of everyday childhood. Rooted in video micro-ethnography and the traditions of theorists such as Bourdieu, Willis, and Bateson, Recess Battles is written for a lay audience with extensive academic footnotes. International scholar Dr. Brian Sutton-Smith contributes a foreword, and the children themselves illustrate the text with black and white paintings.

Black Painting (with Asheville Citizen)

This essay examines the early 'black paintings' worked on by the artist Robert Rauschenberg between 1951 and 1953.These paintings are examined in relation to their initial place of making, in the Southern states of the USA, at Black Mountain College in North Carolina. Examining this semi-rural, non-urban, setting for the creation of the works provides a contrast to earlier readings, which saw the works as exclusively urban in character. By looking in particular at rural poverty in relation to the paintings, they can also be seen as a critique of the prevalence of idealized images of country living in the work and self-fashioning of Rauschenberg's artist contemporaries, and the broader culture industry of the post-war period in the United States. The essay also examines some of the artist's earliest 'combine' works, suggesting that they represent ideas of American regional identity and attempt to insert neglected regional stories into museums' history of the nation. Reprinted by permission of the publisher.