The main purpose of this study is to examine, understand and evaluate the aesthetic role of artificial intelligence, which has become increasingly effective in art production in recent years. The ...article focuses on the artistic creation and aesthetic concepts of artificial intelligence. The research examines the effects of artificial intelligence on artistic creation and the role of this technology on artistic aesthetics through Van Gogh’s “Starry Night” painting. In the article, the descriptive analysis method, one of the qualitative research techniques, and the composition method were applied when interpreting the visuals. In this context, a review and interpretation were made on six studies created with artificial intelligence. The plastic state of the images was revealed and interpreted according to the composition method, art and design principles and elements. According to the research results, works produced with artificial intelligence have aesthetic components of original works of art. However, works produced with artificial intelligence also show some important aesthetic differences from traditional works of art. These differences include color and application, repetition of the prompt and self-development. Artificial intelligence offers an aesthetic experience that changes, expands or clearly reveals the boundaries of traditional artworks. It is understood that artificial intelligence, which applies the formal language of artists through deep learning, has limited potential to convey the emotional expression of the artist. Visuals produced by artificial intelligence seem to create a unique aesthetic while being successful in emulating traditional creative works.
Pierre Bourdieu’s conceptual framework offers a productive means of making sense of statistical regularities and correspondences. When it comes to explaining the intricacies of individual ...biographies, however, including something as seemingly personal as one’s choice of occupation, Bourdieu offers only a starting point in need of elaboration. Above all, there is a need to pay greater attention to the multiplicity of fields in which individuals are situated and the interplay between them in shaping desires and strategies. These include class, family relations and, in some cases, employment-based fields such as art, religion or specific organisations. To demonstrate the argument, this article takes as a case study the trajectory of Vincent van Gogh, highlighting the ongoing interaction between class, family and other fields in generating his eventual decision to become an artist.
The major purpose of this paper is to study the important role of historical painting art on the creation of space-age era eight decades ago in 1950s. According to the Merriam-Webster Dictionary, the ...first known use of “space age” was in 1946. In the Collins Dictionary, the space age is the present period in the history of the world when travel in space has become possible, and people use “space-age” to describe something that is very modern and makes you think of the technology of the space age. In American English, space age is the period in modern history characterized by space exploration, usually considered as beginning on October 4, 1957, when the Soviet Union launched the first artificial satellite, Sputnik I, into orbit around the Earth. In the ancient time, many artists including Giovanni di Paolo, Albrecht Dürer, Étienne Léopold Trouvelot and Vincent van Gogh created masterpieces of space related paintings. Even in the extreme ancient era, the cave art already evidenced humans’ astronomical knowledge. Besides the technological research and development for space explorations, groups of workers and artists in the areas of culture, painting, architects, installation artwork, etc. had done many contributions in the development of space-age cultural and aesthetic art before 1950s. They not only created so many masterpieces with plenty of space-age aesthetics, but witnessed and recorded the development history of the space age. It goes without doubt that historical space painting art played an important role on the creation of space-age era in 1950s. Therefore, it is mandatory to investigate and reveal the fact.
•To study the important role of historical painting art on the creation of space-age era eight decades ago in 1950s.•The first known use of “space age” was in 1946, considered as beginning on October 4, 1957 when Sputnik I launched.•Giovanni di Paolo, Albrecht Dürer, Étienne Léopold Trouvelot and Vincent van Gogh created masterpieces of space related paintings.•In the extreme ancient era, the cave art already evidenced humans' astronomical knowledge.•Groups of artists in the areas of culture, painting, architects, etc. contributed space-age cultural and aesthetic art before 1950s.•Historical space painting art played an important role on the creation of space-age era in 1950s.
Vincent Van Gogh (1853–1890) was a creative genius and one of the greatest painters in history. He was a troubled soul plagued with an inner turmoil driven by his social, financial, personality and ...medical/psychiatric afflictions. His life has fascinated academic scholars of many disciplines who have researched extensively on his life and works. From his voluminous correspondences and contemporary medical records, his medical/psychiatric illnesses have been analysed in detail and several diagnostic formulations proposed. These include temporal lobe epilepsy, intermittent acute porphyria, Meniere’s disease, lead poisoning, sexually transmitted diseases, terpene/absinthe/alcohol abuse, ophthalmological disorders in addition to chronic bipolar disorder, schizophrenia, personality and anxiety disorder and narcissism/neuroticism. We hypothesized a new diagnosis in the form of vestibular migraine for Van Gogh which is a migraine variant but distinct from the classical migraine variety. Our hypothesis is unique as it also considers that this condition due to its recognised associations with Van Gogh’s proposed illnesses could have influenced his other conditions and thus offers a common unifying factor to explain his illness symptoms. We tested our hypothesis by individually analysing all of Van Gogh’s correspondences in the original French and Dutch as well as English translations. Further, we considered the existing literature on Van Gogh’s other illnesses and contemporary medical records. Van Gogh fulfilled all the criteria for vestibular migraine as formulated by Barany Society and International Classification of Headache Disorders (ICHD) 3 with episodic dizziness, present or past history of classical migraine, headache, photophobia, phonophobia and visual and position triggered vertigo with no other otologial cause to explain his symptoms (including Meniere’s disease). Furthermore, it appears that vestibular migraine could have interacted with most of his other proposed illnesses. We also observed that this condition influenced his art following onset for example, in his use of colours and depiction of his subject matter with a consistent vertical tilt on the left. It is anticipated that our hypothesis will add a new dimension to the understanding of his illnesses and increase the awareness of the complex condition of vestibular migraine that to this day has limited awareness amongst the medical and general fraternity.
O artigo tem como propósito apresentar os resultados de um estudo sobre vivências e paisagens elaborado a partir da obra “A Arlesiana”, de Vincent van Gogh. Este estudo trata tal representação como ...paisagem de emoção, que conforma a existência de Vincent van Gogh lhe atribuindo sentidos e significados a partir das experiências manifestadas em seu espaço vivenciado. Neste sentido, entendemos que as representações do espaço manifestadas nas pinturas de Vincent van Gogh se constituem como paisagens que, tomadas como formas simbólicas, conformam a vida do artista. Dessa forma, consideramos que o espaço simbólico atribui sentidos e significados à maneira como o espaço é vivenciado e representado pelos sujeitos.
In Japan, the ideological implications of landscape were hotly discussed throughout the 1970s. In his response to this discussion, the film scholar and critic Hasumi Shigehiko characterized ...'landscape' as a cultural apparatus that dictates one's perception of the physical world. A comparable view on landscape can be found in Panari nite (On an Offshore Island, Nakae Yūji, 1986), which evinces a critical engagement with landscape through drawing on the mythologized life of Vincent van Gogh in Arles. As with the Dutch artist, who sought an imagined Japan in southern France, the film's protagonist, a painter from Tokyo, carries along his fantasies when he comes to an island in subtropical Okinawa, where he confronts the devastating gap between reality and representation. Through analysis of the film, I will assess Hasumi's formative influence upon Nakae, arguing that the film employs Hasumi's critical approach to landscape in order to counter the dominant stereotype of Okinawa as an exotic Other within Japan's national boundary.
In the 16th century, the Spanish brought logwood from Mexico to Europe. Its extract was used for textile dyeing. The French introduced the logwood tree to Western Hispaniola, which became Haiti in ...1804. Around 1880, Haiti exported most of its logwood to France. In 1847, Runge introduced the black chrome-logwood ink as an alternative for iron-gall ink, because the latter attacked the steel writing nibs. The most important constituents of logwood are hematoxylin and hematein. Due to the profitable import conditions from Haiti, chrome-logwood ink became the cheapest and most commonly used black writing ink in France. This could explain why Vincent van Gogh, during his French period, used it for writing and drawing and why most of the French postcards from the first half of the 20th century, studied in this publication, were written with chrome-logwood ink, while most of the Dutch postcards were written with an iron gall ink.
Vincent van Gogh is one of the most well-known and influential artists in the western tradition. A sociological analysis of his creative practice, therefore, not only illuminates particularly ...consequential interventions in the history of art, with its knock-on effects for cultural consumption, but affords an opportunity for deepening our understanding of cultural production per se. At stake, I argue, is a fundamental artistic disposition – in this case, an aesthetic orientation toward nature and sentiment – persisting through, if not underpinning, changes of style. This article reconstructs the myriad forces involved in the genesis of this disposition in van Gogh’s early years. It draws upon the conceptual tools of Pierre Bourdieu to do so, but goes beyond them by stressing the importance of familial heritage and ‘second order’ field effects in shaping the young van Gogh’s aesthetic sympathies, long before he briefly entered the French artistic field in his final year of life.
After a fortuitous encounter with a reproduction of Vincent van Gogh's Six Sunflowers in 1920s Japan, then teenager Shikō Munakata (1903-75) famously pledged to become "Japan's Van Gogh." Instead, ...Munakata would become a woodblock printmaker celebrated in a purposely non-analogical manner not only as "the world's Munakata" but also, later, as "Japan's Munakata," amongst numerous other variations. Conveyed through successive (dis)analogies, the story of Munakata's artistic development makes clear certain national paradigms entangled in the historization of Japanese modern art. In this case study, I trace the varied ways in which Munakata and others construct, propagate, and modify analogy in an active and, at times, unwitting process of historicization across several contexts, including Munakata's own visual and textual legacy, the writings of his contemporaries and art historians, and the interpretive approaches of museums. This article focuses on key insights from historiographical research and a site visit to the Munakata Shiko Memorial Museum of Art in Aomori, Japan. This example is unusual and significant in that an analogy proposed by the artist himself (Japan's Van Gogh) is adopted and modified by others in a way to which Munakata responds in different ways throughout his life. In comparing the intentions and contexts that underlie each instance, I discuss ruptures in how Munakata's life and work are interpreted in writings about the artist. I emphasize that analogies need not be static; they are also strategically inconsistent, malleable, and thus revelatory of their underlying conventions.
The aim of this article is to show how Vincent van Gogh developed a theological reflection that is mainly present in his paintings with religious motifs. This reflection is the fruit of his religious ...experience, which combines his spirituality with a social commitment to the miners in Borinage, Belgium, which can be seen as an option for the poor avant la lettre in the 19th century. This experience, far from strengthening his institutional relationship, rather provoked a critical attitude towards the theological discourse of the ecclesial context in which he lived and led the aspiring pastor to become a genius in painting. His theological interpretation as a critical reader of the Bible can be translated into what will be called here a theological chromatology, to be identified through the intersection of letters and paintings of Vincent van Gogh. Given the influence of the Dutch painter genius on contemporary culture, the process through which his reflection on the religious and theological issue emerges can be seen as a significant element in understanding the present in post-secular societies.
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