Theory Of Painting Research Articles

On Christian Iconography: Selections from The Art of Painting (1649) by Francisco Pacheco

Reviewed by: On Christian Iconography: Selections from The Art of Painting (1649) by Francisco Pacheco Tanya J. Tiffany On Christian Iconography: Selections from The Art of Painting (1649). By Francisco Pacheco. With an introduction and the Spanish text translated by Jeremy Roe with Carles Gutiérrez Sanfeliu; Latin text translated by José Solís de los Santos. [Early Modern Catholicism and the Visual Arts, Volume 16.] (Philadelphia: Saint Joseph University Press. 2017. Pp. xxv, 340. $75.00. ISBN 978-0-91610-189-3.) In 1638, at age seventy-four, the learned Sevillian painter Francisco Pacheco completed his life's work, the Arte de la Pintura (Art of Painting), a treatise published posthumously in 1644. A monumental text, the Arte consists of three books on the nobility, theory, and practice of painting, with a particular emphasis on sacred images. Scholars have long valued the Arte for the light it sheds on intellectual life in early modern Seville and especially on the career of Pacheco's most illustrious pupil, Diego Velázquez. Until now, however, only fragments of the Arte have been available in English. The translation under review is therefore most welcome for making Pacheco's treatise more widely accessible to students and scholars of early modern art history. As indicated by the book's title, Jeremy Roe and Carles Gutiérrez Sanfeliu have chosen to focus on the ample sections of the Arte devoted to decorum in religious painting. This decision follows the precepts of Pacheco himself, who affirmed that it was by representing Christian subjects with both "majesty" and historical accuracy that painters fulfilled their ultimate purpose: to create images that "serve[d] as truthful books" for the faithful (p. 46). In his introduction, Roe provides a nuanced perspective on the relationship between Pacheco's artistic theory and his practice as a painter of sacred subjects. Building upon Bonaventura Bassegoda's critical edition of the Arte (1990), he highlights Pacheco's close engagement with writings by Sevillian churchmen and by post-Tridentine figures of international renown, among them Gabriele Paleotti [End Page 145] and Johannes Molanus. He also emphasizes Pacheco's commitment to establishing new sacred iconographies, as illustrated by the artist's paintings and codified in his text. Like other Catholic Reformers, Pacheco opposed the invention of novel religious iconography for its own sake, but at the same time he sought to abandon pictorial conventions that failed to adhere to the letter of scriptural truth. In an example well known to specialists, Pacheco thus used historical evidence to affirm that Christ's crucifixion should be depicted with four nails, rather than the usual three. He also sought to correct the "improprieties" seen in versions of the Last Judgment by Michelangelo and others (p. 56); according to a cleric quoted in the Arte, Pacheco rejected images of a "terrible and fearful" Christ and, in his own Last Judgment, instead depicted the Lord as "merciful and joyful," in keeping with biblical evidence of God's "delight" in saving the just (p. 66). Yet as Roe contends, Pacheco's portrayal of a gentle Christ benignly delivering judgment means that his painting lacks the very narrative clarity and emotional impact that he and other post-Tridentine painters sought to achieve. Roe also explores how this painstaking search for historical precision distinguished Pacheco from other artists of the day, among them his rival in Madrid, the Florentine-born Vicente Carducho, who ridiculed ongoing "disputes over … how Christ our Lord was crucified" and affirmed that pious painters should simply focus on representing "the essential" aspects of sacred history (quoted on pp. 28–29). For the translation itself, Roe and Gutiérrez have included chapters from the Arte dealing with "Order, Decency, and Decorum" and the Last Judgment (chapters 2–4 of Book Two) as well as Pacheco's lengthy appendix on the iconography of various Christian themes, the Adiciones a algunas imágenes (Further matters raised by a number of images; appendix to Book Three). They have rendered Pacheco's often unwieldy Spanish prose into lucid English, and have included English translations by José Solís de los Santos of Pacheco's quotations from Latin. Accompanying the text are 123 reproductions of works either...

오지호와 반 고흐의 과수원

How similar is Oh, Chiho’s to Van Goghs ? The theme is “Blossoming Orchard”, which is full of flowers. And the compositions is also similar : the horizon that separates about a third of the canvas, and the line of field furrows that run to a diagonal line, and the structure that deals with about three trees as the main subjects, and the outlining technique for representing trees is similar. The answer to how to interpret this similarity was found in Oh Chihos diary in 1937. Chiho studied and learned how to express the sun and the life from Van Gogh. At the same time, he made it his own painting theory, and based on this painting theory, he created . What he showed in this painting was a meticulous reproduction of the real scenery according to this law of nature, and he used his own brush strokes researched on Van Goghs coloring and brush touches as a way of painting in the plein air. We define Van Gogh, whose life is a theme, not an idealist or a romanticist, as a post-Impressionist or an expressionist. Chiho in his diary defines Van Gogh a “Colorist”. Almost every artist, like Van Gogh, starts out as a realist who paints his surroundings, and by some means decides his or her own style at some point in time, 32-year-old Chiho had a great sympathy with Van Gogh in 1937 and took his style of painting into his own style. So the similarity between the works of the two artists is superficial, and is due to a solidarity far beyond the superficial similarities. They realized their own experiences in paintings and recreated the subjects reality by assimilating it with themselves. Chiho might defined his art style based on realism as Colorist style. His colorist style, set in 1937, will later reach its peak in his 1939 work , which would have studied and applied the methods of impressionists and neoimpressionists who often use violet hues.

고려 중기의 북송과의 회화 교류

The mid-Goryeo Dynasty (approx. 1050~1150), extended from the new tendencies of early Goryeo paintings, continued from King Munjong to Uijong. This period saw the rise of literati painters, theory, and subject of painting. To begin with, Hwaguk(畵局; the Imperial Painting Academy of Goryeo) was established, and painters such as Lee Nyeong(李寧) who created notable paintings emerged, accelerating a turn to paintings for appreciation. With the accommodation of Eojebijangjeon(御製秘藏詮; including Eojebulbu and Eojejeonwonga) Sansupanhwa(山水版畵; landscape print), Sansuhwa(山水畵; landscape painting) developed. The development of Sansuhwa resulted the start and evolution of Silkyungsansuhwa(實景山水畵; real landscape painting). Also, Buddhist paintings developed with the hyperrealistic style of academic painting. Such qualitative change and shift in the mid-Goryeo dynasty was highly inf luenced by painting exchange with Northern Song led by King Taejo and King Munjong, who was adored as a benevolent and divine king. This study focuses on painting exchange with Northern Song, which played a crucial role in bringing such shift to mid-Goryeo paintings based on written records. On March of the 25th year of Munjong (1071), the alliance between Goryeo and Song resumed. Since then, delegates of each country came and went for about 30 times actively proceeding painting exchange. This was until 1127, when the capital of the Jin Dynasty fell down and Northern Song collapsed. By this, different tendencies of Northern Song paintings which informed the golden ages of Chinese paintings flowed in, and changed Goryeo paintings into medieval ones for appreciation. These tendencies were also used for the establishment of high-degree academic painting style. Investigation on the painting exchange between mid-Goryeo and Northern Song is still unclear; however, this study is critical in means of starting to understand the relationship between Goryeo paintings and the history of East Asian paintings. Therefore, this study plans to restore the true history of Goryeo paintings in both diachronic and synchronic contexts, with detailed analysis and historical research distinct from previous studies which solely displays a list of brief data.

19세기 중반 조선에 등장한 남종문인화론의 새 단계 -추사 김정희에 의한 관념적 예술미의 강화와 저변 확대-

19세기 중반 조선에 등장한 남종문인화론의 새 단계 -추사 김정희에 의한 관념적 예술미의 강화와 저변 확대-

3次元物体，非剛体のスリット視:――網膜描画説，計算理論批判および見えない部分の「知覚」――

3次元物体，非剛体のスリット視:――網膜描画説，計算理論批判および見えない部分の「知覚」――

Choreographing Kandinsky’s ‘Spiritual’ in Sergei Diaghilev’s Ballets Russes

Abstract The purpose of this article is to demonstrate that Wassily Kandinsky’s geometrical paintings were inspired by the ballet world, and by the body movements of the ballerina. Moreover, painting and ballet communicate with each other. And geometry has helped that. Then, the idea of this article starts with the necessity in relating Kandinsky’s Spiritual theory on non-materiality exposed in Über das Geistige in der Kunst with Sergei Diaghilev’s Ballets Russes brought on Parisian scene between 1909s and 1929s. Ballets Russes is the term which names all the ballet representations thought and designed by Sergei Diaghilev after his musical-cultural conflict with Nikolai Rimski Korsakov. Starting with 1907s, Kandinsky had initiated Der Blaue Reiter group and he starts with various drawing techniques. Were favourable years in which Kandinsky’s evolution from simple drawings to sophisticated Compositions got up. We are witnessing a cultural increasement. So, the ballet, the music, the theatre and the painting can not be separated any more or, at least, or, at least, cannot be thought of separately as systems of aesthetic theory. The aesthetic evolution from ballet and theatre had influenced the evolution in painting. What we will try to show as novelty in our investigation, is the kinetic and spiritual relation between Kandinsky’s Compositions and some representations from Ballets Russes by Sergei Diaghilev, especially with the «L’Oiseau de feu». In conclusion, we want to show how the lines designed by Wassily Kandinsky are describing ballet’s movements. The methods used in our research have consisted in the inter-artistic comparison between Wassily Kandinsky’s theory of painting and the ballets designed by Sergei Diaghilev. We also brought a philosophical and personal perspective on both worlds.

齊白石之藝術世界與其和平思想之特徵

Qi Baishi is a famous contemporary Chinese water and wash painter with many ups and downs in his life. Born in a poor family, he has to be apprenticed to a master to learn carpentry when he was only 15 years old, in the process of which he fell great interest in Chinese painting and study Chinese water and ink painting on his own. When he was 27 years old, he was apprenticed to Hu Qinyuan and Chen Shaobo to learn Chinese poetry and painting, and draw portraits in his spare time. The rich experience laid a good foundation for his later career. In his middle age, Qi Baishi traveled far away for five times to open his horizon and then lived as a hermit in his home, Qinzhou, devoting himself to painting, calligraphy and seals carving. Many artistic works were produced at that time. In his old ages, he escaped to Beijing for civil war, where he changed his painting style and put forward some painting theories like Between Resemblances, From Order to Disorder and Transcending Worldliness, forming his own artistic characteristics. From grass-root class, he knows what is peace. In his mind, peace are an ordinary daily life, mountains far away, a pond in front of the door, shrimps in the river and insects on the tree. He created many humanistic and poetic works with the themes of cherishing life and loving nature, publicizing and practicing the idea of serving people with art. His painting Ode to Peace, which depicts a flock of flying peace doves, was highly appraised. After the foundation of the People’s Republic of China, Qi Baishi was held in high esteem domestically and abroad, and gained the International Peace Award. Many of his works created in his old age reflected his peace thought, that is, the inner balance of humans, good relationships among people and harmony between humans and nature. Based on the above contents, the article makes a tentative study of the characteristics of Qi Baishi’s artistic world and his peace thought.

The study of arbitrariness ‘likely(似)’ concept on the theory of oriental painting: Focused on ‘likely(似)’ concept existed between the shape copied·mentally copied

The study of arbitrariness ‘likely(似)’ concept on the theory of oriental painting: Focused on ‘likely(似)’ concept existed between the shape copied·mentally copied

Letters of Jack B. Yeats to Joseph Hone, 1921–1955

Letters of Jack B. Yeats to Joseph Hone, 1921–1955 Steven Hrdlicka Jack B. Yeats wrote more than fifty letters to Joseph Hone over a period of thirty-four years which now reside in the Yeats Family Correspondence Collection at the University of Kansas Kenneth Spencer Research Library. These letters, and other materials, are part of the extensive P. S. O'Hegarty collection that KU acquired from O'Hegarty's wife, Mina, in 1955. Yeats's letters to Hone, as yet unpublished, contain the Irish painter's thoughts on a number of important issues, some of the most attractive of which are his numerous casual observations on art, painting, and philosophy, of great interest if only because the artist spoke so little about art during his life. Aside from a lecture Yeats gave on painting at the Irish Race Congress held in Paris in January 1922 (which was printed later that year as Modern Aspects of Irish Art and has been out of print since), these letters contain some of the painter's only surviving thoughts upon his craft, and in many ways both confirm and add depth to the observations he gave in the formal lecture.1 Yeats's reflections in the letters on painting, art in general, and Ireland are important to consider alongside the comments Thomas MacGreevy advanced in Jack B. Yeats: An Appreciation and Interpretation, published in 1945.2 The letters in the collection from 1921 contain many of the painting topics that Yeats would raise in the lecture he gave about a year later. Yet there is much more of interest in the letters: the painter's insights into society, art, and politics frequently intertwine with his personality as well as his painting theory. One early example is his criticism of a play by his good friend John Masefield, demonstrating the characteristic casual philosophical depth with which Yeats often wrote.3 [End Page 111] Aside from all of this, perhaps the most important material in the letters for Yeats scholars has to do with the addressee Joseph Hone. Hone was a prolific author who wrote numerous articles on the subjects of politics, literature, and philosophy for the New Statesman, London Mercury, and the Dublin Magazine between 1907 and 1953. He authored a number of books beginning in the 1930s, such as one coauthored with Mario Rossi on Bishop George Berkeley's philosophy (1931, featuring an introduction by W. B. Yeats); The Life of George Moore (1936); the first biography of W. B. Yeats, W. B. Yeats 1865–1939 (1942); and the first edition of a collection of John Butler Yeats's letters (1944). In addition, Hone was a translator of German and Italian (he published a translation of Daniel Halévy's Life of Friedrich Nietzsche). He also cofounded, with James Starkey, in 1905 Maunsel & Co., which would publish many important authors of the Irish Literary Renaissance, such as J. M. Synge, Lady Gregory, Æ (George Russell), Stephen Gwynn, and of course W. B. Yeats.4 In fact, as R. F. Foster points out, W. B. Yeats's desire to have his works published by an Irish publisher led him to woo A. H. Bullen as a backer to get the company started.5 Hone certainly helped thrust W. B. Yeats forward, and this is particularly evident in the short literary biography he published in 1915 entitled William Butler Yeats: The Poet in Contemporary Ireland.6 In addition to the material on painting noted above, the letters Jack B. Yeats wrote to Joseph Hone contain much information regarding family matters, such as the circumstances surrounding W. B. Yeats's death, as well as some back and forth about what should not be included in the 1944 edition of John Butler Yeats's letters. Finally, there are also numerous letters that discuss prominent literary figures and politics; it is no secret that Jack Yeats had personal acquaintance with a number of important writers such as Samuel Beckett and George Bernard Shaw. It is clear that on some occasions Jack Yeats seeks to suppress certain information that Hone would have known due to his closeness both to W. B. and John Butler Yeats. While Hone was editing a...

20세기 전반 한국의 문인화 : 청강 김영기(晴江 金永基, 1911-2003)의 회화 이론과 작품 세계를 중심으로

20세기 전반 한국의 문인화 : 청강 김영기(晴江 金永基, 1911-2003)의 회화 이론과 작품 세계를 중심으로

The East Asian Literati Painting Theories of Sisŏhwa as a Contemplative Practice

Research Article| October 01 2018 The East Asian Literati Painting Theories of Sisŏhwa as a Contemplative Practice Hyunkyoung Shin Hyunkyoung Shin HyunKyoung Shin earned a PhD and an MED in art education, as well as an MFA in art from the University of Minnesota. She completed a DFA in Korean aesthetics from Busan University and holds a BFA in oriental painting from Seoul National University. She is a professor at Young-san University and a representative director at the Nunme Visual Culture Network in Korea. She is the author of two books: Would You Tell Me about Your Drawing? (2001) and Coloring Play: Seeing and Feeling with the Right Hemisphere of a Brain (2014). Search for other works by this author on: This Site Google Journal of Aesthetic Education (2018) 52 (3): 56–71. https://doi.org/10.5406/jaesteduc.52.3.0056 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Hyunkyoung Shin; The East Asian Literati Painting Theories of Sisŏhwa as a Contemplative Practice. Journal of Aesthetic Education 1 January 2018; 52 (3): 56–71. doi: https://doi.org/10.5406/jaesteduc.52.3.0056 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressJournal of Aesthetic Education Search Advanced Search The text of this article is only available as a PDF. Copyright 2018 by the Board of Trustees of the University of Illinois2018 Article PDF first page preview Close Modal You do not currently have access to this content.

Filmowe powidoki Andrzeja Wajdy

ANDRZEJ WAJDA'S AFTERIMAGESThe text: Andrzej Wajda’s Afterimages is an analysis of the last film made by the creator of Ashes and Diamonds. This motion picture is a film vision of the last years of Władysław Strzemiński’s life. Strzemiński was an outstanding Polish, avant-garde artist, destroyed by the communist authorities in the 1950s. The situation of the artist in the trap of enslavement is transferred by Wajda into his film, and into the figure of Strzemiński himself — created by Bogusław Linda — who becomes a “medium” throughout Wajda talks about himself — both as a human and as an artist. Thanks to this specific autobiographical perspective, Wajda’s film becomes a deeply original statement, in which we find not only Wajda’s way of seeing human being, the world and the art, but also a description of his tragic situation from the very beginning of his artist’s life and work. Situation which had been projecting on his future existential choices and artistic decisions. Not only Strzemiński’s character, but also his theoretical work — famous, unfinished book The Art of Vision becomes close to Wajda, who adopted the painting theory of the creator of unism for his own film practice. And this “theorethical” practice is also evident in the Afterimages.]]>

Estetika klasičnog kineskog slikarstva

Over a period of one thousand years (7th­17th c.), a great number of works of a very broad spectrum in style, themes, genre and aesthetics were created in the Chinese fine arts. A special creative period was between the 10th and the 13th century, which also produced a great number of written works, in which the authors developed their aesthetics, explaining how they understand art and creativity, especially in relation to painting. In this work, we focus on creativity related to painting and on painting theories and aesthetics. Some of these texts are close to the texts on painting written by Leonardo da Vinci (round the year 1500), except the Chinese texts were mostly written several centuries before his time.

Giovanni Morelli e l’estetica positivistica

Bernard Berenson used to refer to Giovanni Morelli as «the founder of the Method». With these words, he meant that Morelli was the scholar who, first, transformed connoisseurship in a science, giving to the discipline a stringent method. Does Morelli’s theory of painting really deserve this praise? To answer this question, this paper examines in the first part the philosophical and scientific background of Morelli’s doctrine, showing how its original debt payed to romantic philosophy went replaced by a neat positivist orientation. In the second part, the Method itself is discussed, asking in which measure it was anticipated by the intuitions of art experts such as Giulio Mancini or Luigi Crespi and discussing the nature and epistemological relevance of the so-called “morellian details”, that is the forms of the nails, of the ears, of the hair’s curls in paintings. Are these details really sufficient for the attribution of a painting to an artist? Which role play the documents in connoisseurship? And, more generally, how important is aesthetic value in the morellian “Method”?

Visualising Ukraine: amateur photography in Kyiv in turn of the 19-20 century

The article considers the history of becoming an amateur photographer in Kiev in the last decades of the 19th - early 20th centuries. It is noted that amateur photographers played an important role in the formation of the visual image of Ukraine, which became an essential element of Ukrainian national identity. The socio-economic conditions for the development of photography are analyzed; educational and exhibition activities of the photographic department of the Kiev branch of the Russian Technical Society and the Kiev Photographic Society Dager; the contribution of Kyiv amateur photographers to the development of the theory and practice of light painting.

A Research on Concept of Space Aesthetic Consciousness Examined Through Chinese Ancient Painting Theory

A Research on Concept of Space Aesthetic Consciousness Examined Through Chinese Ancient Painting Theory

Analiza in kritično ovrednotenje Xu Fuguanove interpretacije koncepta qiyun shengdong 气韵生动

Članek obravnava Xu Fuguanovo analizo in interpretacijo koncepta qiyun shengdong 气韵 生动, ki velja za enega od najpomembnejših, najbolj temeljnih in hkrati najtežje dojemljivih konceptov v kitajski estetiki in umetnosti. Nastal je v obdobju Wei Jin (220–420 n. št.), ki je eno od najbolj ustvarjalnih in prelomnih obdobij na področju kitajske estetike in umetnosti. Njegova kompleksnost se izraža tako v literarnih delih, slikarstvu, kaligrafiji in glasbi, kot tudi v literarni teoriji ter teoriji slikarstva, pri čemer se qi nanaša na zunanje značilnosti umetniškega dela, medtem ko izraža yun notranje značilnosti, ki so del človeške notranjosti oziroma človeškega duha, medtem ko shengdong pomeni manifestacijo, delovanje in zlitje obeh konceptov v umetniškem delu.Avtorica najprej predstavi Xu Fuguanovo interpretacijo in jo prikaže v kontekstu sodobnih debat o kitajski estetiki. V nadaljevanju se osredotoči na njegovo filološko in historično analizo semantičnega ter filozofskega razvoja obravnavanega koncepta in na koncu poda kritično evalvacijo njegove študije v kontekstu ponovnega ovrednotenja osnov klasične kitajske estetike.

メルロ=ポンティの絵画論 : 過去と現在の絵画の相互関係性について(第五十三回美学会全国大会発表要旨)

メルロ=ポンティの絵画論 : 過去と現在の絵画の相互関係性について(第五十三回美学会全国大会発表要旨)

Diderot and the destination of art

While Denis Diderot’s pronouncements on art have received a great deal of critical attention, they have not been sufficiently studied from the point of view of prevailing approaches to imitation. Consideration of his salon criticism reveals that questions of mimesis and imitation are fundamental to an understanding of his views on painting and to the destination of art in eighteenth-century France. Whether his objections are addressed to artists who failed to “follow the poet,” or to those who (in his view) neglected nature, Diderot’s frequently censorious remarks invariably revolve around issues that found their most developed expression in the humanistic theory of painting. As a result, his criticism raises questions about the continuing viability of a hierarchy of genres that placed grand narrative painting at its apex, and treated the minor genres as subordinate parerga to “le grand genre” of history painting. Seeking an accommodation for these “lesser” genres, Diderot developed critical concepts that sought to treat genre painting with the same seriousness as subjects drawn from mythology and the Bible, and led to his suggestion for an intermediate genre to reconcile these conflicts that he called, in his writings on drama, “le genre sérieux.” Diderot’s suggestion leads ineluctably to his advocacy for the work of Jean-Baptiste Greuze and Jean-Baptiste Chardin, whose domestic interiors and dead game were, for him, less an imitation of nature than a recreation of nature itself.

“Framing and Fashioning of Images”: The Pictorial Invention of the Art Lover in Daniel Mytens’s Portrait of Thomas Howard, Earl of Arundel (ca 1618)

Abstract The article examines Daniel Mytens’s portrait of Thomas Howard, Earl of Arundel, and the pendant portrait of his wife, Aletheia Howard (ca 1618), in relation to early modern rhetorical concepts in portrait painting and art theory. Particular focus is placed on the pictorial meaning of the depicted sculpture gallery in Lord Arundel’s portrait in its relation to the sitter. The author argues that the composition subtly transforms certain patterns of a long-standing pictorial code in portrait painting, which can be identified as a type of “picture within a picture.” Already established in the Italian portrait tradition, an integrated little picture or window view next to the sitter was a widespread formula in seventeenth-century Dutch and British portraiture, in order to praise a sitter’s moral and political virtues. Mytens reinterprets this portrait type, in this way inventing a pictorial mode of highlighting the particular virtues of the art lover: his portrait, through its adaptation of the picture-within-a-picture formula, praises the earl’s noble act of collecting antiquities while at the same time strongly emphasizing his intellectual strength.