Participatory art practices allow members of an audience to actively contribute to the creation of art. Annemarie Kok provides a detailed analysis and explanation of the use of participatory ...strategies in art in the so-called ›long sixties‹ (starting around 1958 and ending around 1974) in Western Europe. Drawing on extensive archival materials and with the help of the toolbox of the actor-network theory, she maps out the various actors of three case studies of participatory projects by John Dugger and David Medalla, Piotr Kowalski, and telewissen, all of which were part of documenta 5 (Kassel, 1972).
Schools of art represent one of the building blocks of art history. The notion of a school of art emerged in artistic discourse and disseminated across various countries in Europe during the early ...modern period. Whilst a school of art essentially denotes a group of artists or artworks, it came to be configured in multiple ways, encompassing different meanings of learning, origin, style, or nation, and mediated in various forms via academies, literature, collections, markets and galleries. Moreover, it contributed to competitive debate around the hierarchy of art and artists in Europe. The ensuing fundamental instability of the notion of a school of art helped to create a pluriform panorama of both distinct and interconnected artistic traditions within the European art world. This edited collection brings together 20 articles devoted to selected case studies from the Italian peninsula, the Low Countries, France, Spain, England, the German Empire, and Russia.
•ICC++ is explainable and content-based image retrieval method.•ICC++ is based on compositional patterns for semantic understanding of art historical images.•Introducing Web Gallery of Art 500 ...(WGA500) dataset - to encourage further research in this domain.•Rigorous evaluations against traditional methods, deep features & SOTA methods.•Our method outperforms SOTA, while has an advantage over deep features in terms of explainability.
Image compositions are helpful in the study of image structures and assist in discovering the semantics of the underlying scene portrayed across art forms and styles. With the digitization of artworks in recent years, thousands of images of a particular scene or narrative could potentially be linked together. However, manually linking this data with consistent objectiveness can be a highly challenging and time-consuming task. In this work, we present a novel approach called Image Composition Canvas (ICC++) to compare and retrieve images having similar compositional elements. ICC++ is an improvement over ICC, specializing in generating low and high-level features (compositional elements) motivated by Max Imdahl’s work. To this end, we present a rigorous quantitative and qualitative comparison of our approach with traditional and state-of-the-art (SOTA) methods showing that our proposed method outperforms all of them. In combination with deep features, our method outperforms the best deep learning-based method, opening the research direction for explainable machine learning for digital humanities. We will release the code and the data post-publication.
A history of the reception of Chinese painting from the
sixteenth century to the present What is Chinese painting?
When did it begin? And what are the different associations of this
term in China and ...the West? In Chinese Painting and Its
Audiences , which is based on the A. W. Mellon Lectures in the
Fine Arts given at the National Gallery of Art, leading art
historian Craig Clunas draws from a wealth of artistic masterpieces
and lesser-known pictures, some of them discussed here in English
for the first time, to show how Chinese painting has been
understood by a range of audiences over five centuries, from the
Ming Dynasty to today. Chinese Painting and Its Audiences
demonstrates that viewers in China and beyond have irrevocably
shaped this great artistic tradition. Arguing that audiences within
China were crucially important to the evolution of Chinese
painting, Clunas considers how Chinese artists have imagined the
reception of their own work. By examining paintings that depict
people looking at paintings, he introduces readers to ideal types
of viewers: the scholar, the gentleman, the merchant, the nation,
and the people. In discussing the changing audiences for Chinese
art, Clunas emphasizes that the diversity and quantity of images in
Chinese culture make it impossible to generalize definitively about
what constitutes Chinese painting. Exploring the complex
relationships between works of art and those who look at them,
Chinese Painting and Its Audiences sheds new light on how
the concept of Chinese painting has been formed and reformed over
hundreds of years. Published in association with the Center for
Advanced Study in the Visual Arts, National Gallery of Art,
Washington, DC Please note: All images in this ebook are presented
in black and white and have been reduced in size.
Some of the recent acquisitions by the Rijksmuseum include: Jesus and the Canaanite Woman, Northern Netherlands?, c. 1550-55Oil on oak panel, 85 x 67 cm, Inscribed, on the reverse: Rap Sanc: Vrbino. ...pinx. / 1510; Model: Willem Danielsz van Tetrode (Delft c. 1525-1580 Westphalia), Rome or Florence, c. 1562-66 Cast: anonymous, Florence (?), c. 1560-1620 Écorché (flayed figure)Bronze, with warm brown organic patina, h. 43.5 cm; Rembrandt Harmensz van Rijn (Leiden 1606-1669 Amsterdam)The Standard Bearer, 1636Oil on canvas, 120.5 x 97.5 cm, Signed and dated, lower left: Rembrandt f/1636; Maria van Oosterwijck (Nootdorp 1630-1693 Uitdam)Vanitas Still Life, c. 1675, Oil on canvas, 82 x 105 cm.
Between the sixteenth and the nineteenth centuries, the west central African kingdom of Kongo practiced Christianity and actively participated in the Atlantic world as an independent, cosmopolitan ...realm. Drawing on an expansive and largely unpublished set of objects, images, and documents, Cecile Fromont examines the advent of Kongo Christian visual culture and traces its development across four centuries marked by war, the Atlantic slave trade, and, finally, the rise of nineteenth-century European colonialism. By offering an extensive analysis of the religious, political, and artistic innovations through which the Kongo embraced Christianity, Fromont approaches the country's conversion as a dynamic process that unfolded across centuries.The African kingdom's elite independently and gradually intertwined old and new, local and foreign religious thought, political concepts, and visual forms to mold a novel and constantly evolving Kongo Christian worldview. Fromont sheds light on the cross-cultural exchanges between Africa, Europe, and Latin America that shaped the early modern world, and she outlines the religious, artistic, and social background of the countless men and women displaced by the slave trade from central Africa to all corners of the Atlantic world.
